Archive for the ‘Blindness’ Category

Flipping the Script on Audio Description Part Three – Moving Beyond Just US

Wednesday, November 25th, 2020

I’ve had conversations where people have said, Blind users don’t want to know about race, they want it to be completely neutral.
– >Elaine Lillian Joseph

Today we’re going beyond the US border to hear from two international describers. Rebecca Singh of Superior Description Services in Canada. A square yellow logo reads Superior Description Services in black capitals under a black dot containing a sequence of vertical yellow lines.
And if that’s not international enough for you here in the states we have Elaine Lillian Joseph from the United Kingdom.

We hear a bit about their AD origin story or how they came to description, the importance of centering Blind people in the process and more on guidelines for describing race, color or ethnicity.

And by the way, who in the world is neutral? Just US? Hmm!

Maybe not the final episode in the Flipping the Script series, but it is the last of 2020!

Listen

Transcript

Show the transcript

Music Begins – A smooth, funky mid tempo Hip Hop beat

TR:

What’s good Reid My Mind Radio Family!

It’s me, your brother Thomas Reid. I hope you’re doing well.

Me? Why thank you for asking. I am doing well.

Today, we’re bringing you part three of the Flipping the Script on Audio Description series.

You know, this was never actually supposed to be a series. I originally planned for one episode but it was quickly evident that several people had something to share on the subject.

It got me thinking about Audio Description in two categories.
First, mainstream.

These are the writers and narrators creating AD for major television and film projects.

Then you have the independents – these consist of a varying degree of theater, live performance, museum and other sorts of description work.

Flipping the Script is all about promoting different voices, alternative views and Audio Description topics that are often overlooked.

As we’ve seen, this applies to both mainstream and independent.

I can’t say for sure this is the end of the Flipping the Script series but I can say it’s the last for 2020.

You know, just when I think I’m done with the topic…

Audio: “… they keep pulling me back in” Al Pacino in Godfather Part 3

Audio: “And here we go!” Slick Rick, A Children’s Story

Audio: Reid My Mind Radio Intro
Rebecca:

My name is Rebecca Singh I am an Audio Describer also a performer. I’m the owner of Superior Description Services which is an Audio Description service which consults with the Blind and partially sighted community one hundred percent of the time. I am a cisgender woman of color and I live in Toronto Canada with my young family.

[TR in conversation with Rebecca:]

How’d you get involved with Audio Description?

Rebecca:

I got involved with Audio Description through the theater actually. I have been a performer for a very long time and just over ten years ago I saw an audition posting for this thing I’d never really heard about, Audio Description and it was a class that I had to audition to get into. I got the part. Started training, that led to something of a building up of the industry here in Toronto.

— Music Begins – A dance track with a driving beat!

TR:

That’s right Y’all, in this third part of Flipping the Script on Audio Description we’re going international!

What’s that? Canada’s right there to the north? Ok, let’s cross the Atlantic.

Audio: Airplane in flight.

Elaine:

My name is Elaine Lillian Joseph. I’m from a city called Birmingham which is the second biggest city in the U.K. I’m a proud Birmie! I’m a Black woman. I’ve just got my hair done. I’ve got long light brown extensions with cane row on top. I’m wearing a floral long just below the knee length dress. I’m sitting in my friend’s bedroom because I’m currently quarantining with my friend’s family. I’ve been doing AD for just under two years. I work for ITV which is our second biggest channel after the BBC. I’m also a freelance Subtitler so I do subtitles for Hard of Hearing as well. A lot of accessibility going on.

TR:

Subtitling or what we know here in the states as Captioning was Elaine’s gateway to Audio Description.

A fan of film and television, she studied English and German in college — oh my bad, University

Elaine:

It always seemed like a natural thing to want to go into media. Finding out that there was this whole kind of world of accessibility and it’s not just, it’s not just transcription I guess. Not that there’s anything wrong with transcription but that you can be a bit creative with it. Doing subtitles for Hard of Hearing for example, doing a Horror film and working out how to describe the sound of of an alien creature and what words am I going to use to do that. It seemed like a natural transition from that to also thinking about how to describe things in general.

TR:

Prior to working at ITV, Elaine was Subtitling at another firm, BTI. it just so happened to be the employer of an influential colleague.,

Elaine:

Veronica Hicks, who kind of really kick started AD in the U.K., certainly. She used to sit directly behind me and she has this velvety plummy (chuckles) voice. I was sitting subtitling and thinking what is it that she does because it sounds fascinating.

TR:

Elaine asked around and learned more about Audio Description. Eventually she left BTI.

Elaine:

Everybody at my company knew that I really really wanted to do it. A position came up; they kind of said go for it! I tested and I got the job and I’ve been very very happy ever since.

TR:

Such an important thing to keep in mind — let people know you’re interested.

Today, Elaine has written AD for projects including a remake of Roswell. She’s been trained on narration so we can expect to hear her post pandemic. She also narrates live performances.

Elaine:

I usually do kind of Queer Cabaret events. There’s like dance, spoken word, lip syncing and things like that.

— Music ends with a drum solo

[TR in conversation with Rebecca:]

I’m wondering what was the experience from your other work that you brought to Audio Description?

Rebecca:

I liked my drama class in junior high and I decided this is the best thing ever. I made my way to a performing arts high school and got bitten by the performing bug and was doing at first some film and television. As it goes as a performer, the work opportunities change.

Instead of just sitting by the phone as they say, I shifted over to doing more theater work, clowning.

[TR in conversation with Rebecca:]

The whole get up, the makeup and everything? Or is that something different? (Chuckles)
Rebecca:

I think that’s a certain kind of clown. I was living in Montreal, like the city of Circ De’ Sole. It was a little bit more movement, physical theater based kind of stuff. The acrobatic storytelling with the body. I went to dance school for a while. So it was really more about expressing myself through the body.

[TR in conversation with Rebecca:]

Okay, so you’re not jumping out of cars with like fifty other clowns. (Laughs)

Rebecca:

No!

TR:

She’s a creative person who found herself doing more arts administration. After moving to Toronto she moved back into the performance space gaining even more of the experience she needed for Audio Description. That physical performance for example prepared her for her first AD assignment describing physical comedy. And the administration work was quite valuable as it gave her a community of people to talk to or a network.

Rebecca:

There were people that had already worked with me in a different context and so I understood their concerns, what their fears were as producers. Everything from being afraid of touch tours because you’re potentially bringing a service animal onto a stage before the show. Rehearsal schedules, the time and space actors need. The types of conversations that are appropriate to have with directors if you’re having discussions. When is a good time to approach a designer if you have some questions? All of those things really help to mitigate any hesitancy that producers had in terms of adding something new to their palette.

TR:

Elaine’s love of reading & creative writing adds value to her description. But that merging of creativity with Audio Description has it’s challenges.

Elaine:

It’s a service and I think it’s important to remember it’s a service. There can be ego (Chuckles) in any industry and sometimes I think people forget the user and what’s most important to the user.

TR:

Rebecca has her own way of assuring Blind consumers are always centered throughout her process.

Rebecca:

Paid Blind and partially sighted consultants. I get two different kinds of feedback. I learned a long time ago it’s definitely not a one size fits all in terms of description. I have a roster of consultants with different interests as well. I also try to match the interests of the consultant. Some people like Opera, some people like dance. All of their different expertise filters into my descriptions. And they ask those really deep and probing questions that I have to find answers to.

[TR in conversation with Rebecca:]

What kind of differences do you find between the Blind and partially sighted feedback that you get?

Rebecca:

One of the most striking differences is things like when I’m describing a set. With people who are partially sighted some people need to sit really really far up close and they want a different type of perspective in terms of what the set looks like. they may not be sitting in the same place. If they have a service animal they may be sitting further back in the theater. Maybe they’re closer to a speaker where that might cause some sound level things that need to be worked out. Sometimes light matters in a production, sometimes it doesn’t. Sometimes I’ll get feedback from Blind consultants saying things like I really appreciated the fact that you called this thing almond shape because I know what an almond feels like. I really developed a sense of what words work better and what words are more inclusive over time working with both Blind and partially sighted consultants especially if they’re working together with me on the same show.

That’s the other benefit of having multiple consultants is that they can learn from one another and I always have a chance to bring in somebody new and widen my pool.

TR:

Inclusive language reflects all sorts of identities.

Elaine:

I’ve had conversations with people before about things like race. It’s wonderful that we’re kind of having a moment where we’re really grappling with that. And I’ve had conversations where people have said, Blind users don’t want to know about race, they want it to be completely neutral. I find that a really interesting argument because I’m like what does neutral actually mean and who are we assuming is neutral?

[TR in conversation with Elaine:]

How do those conversations come up when writing description?

Elaine:

When I first started I remember asking questions like should I describe color? Should I describe that this rose is red or that this car is blue or whatever? And then moving from that I guess to should I describe race and the color of somebody’s skin?

So I’ll talk specifically about race rather than diversity I guess because there are other things that we can describe.

The industry standard was to not describe race unless it’s important to the plot.

TR:

By now, if you’ve been following this ongoing conversation on the podcast, you should be pretty familiar with this AD guideline.

As an example of the guideline, Elaine refers to a production of Hamlet

Elaine:

And Hamlet is Black. Then I should mention it. But that doesn’t mean I should mention the race of anybody else. We can assume that everybody else is white. I took that on board and then I kind of ignored it a little bit. (Laughs)

[TR in conversation with Elaine:]

(Laughs…)

Elaine:

Because I just found it really difficult. I was like, but why? (Laughs)

I found that I was working on shows where I just wanted to describe like the color of somebody’s skin.

[TR in conversation with Elaine:]

Why?

Elaine:

Why!

Because I thought, what’s it mean for it to be relevant to the plot. If there’s a conversation happening between sighted users and they’re saying oh did you notice how the policeman in whatever show it is is Black? I just kind of feel that means that as a Blind user you can’t be part of that conversation because someone’s decided that that Black policeman isn’t relevant to the plot so we’re not going to mention them. Also personally I know Blind users who I’m friend’s with who definitely wanted that information to be included because they’ve definitely felt like there are conversations that they can’t be part of because people are making these decisions.

TR:

Decisions being made on behalf of Blind people without our input. How does that make you feel?

Elaine:

Initially I wasn’t bold enough to say the Black man. I would describe the texture of his hair. So I would say the man with black afro textured hair. (Laughs) I think it should be fairly clear, but I still felt like I was kind of skirting around it.

[TR in conversation with Elaine:]

Would you get any pushback?

Elaine:

We definitely didn’t receive any pushback. When my manager kind of reached out to a community of Blind users then it was an overwhelming yes! (Chuckles) Please do include that.

[TR in conversation with Elaine:]

Okay. So you never got pushback from management.

Elaine:

No. My immediate manager was like a resounding yes! When I went into the kind of wider Audio Describer community that’s where I definitely felt pushback.

TR:

Like the time Elaine attended a conference where for the first time she heard a discussion of race and Audio Description included in the conversation.

Elaine:

There was a lot of why do we need to do this? What terms do we use? People not feeling comfortable saying the Black man – will the terms change. We might offend somebody, so it’s better if we don’t use any terms at all and just kind of ignore race. It felt uncomfortable for me being the only Black person in the room.

TR:

That’s uncomfort when people are either looking to you for the answer. Or one that I know I’ve experienced, giving the impression that you’re doing something wrong by raising the issue. (Oh well!)

Elaine:

Maybe it’s my British politeness kicking in but I found it very difficult to sit and listen to kind of put in my two pence. Imagine if a user is Black, maybe they do want to know about race (laughs… You never know!

[TR in conversation with Elaine:]

Yeh, absolutely

It’s just as important for a Blind consumer who is not Black to know that there are Black people on the screen y’all, like this is real.

Elaine:

Definitely.

[TR in conversation with Elaine:]

I’m wondering if there’s an age gap here too. Is this the old guard that we’re talking about here?

Elaine:

I guess so, yes.

I have much respect for them. I feel like I need to put that disclaimer out . (Chuckling)

I really do and I felt like almost a young usurper at that conference and in some of these conversations I’ve had. I get that they’ve been trained in a specific way. If we look at the breakdown of describers in the U.K. it’s white middle age women.

Audio: “To be or not to be. That is the question” From Hamlet, Royal Shakespeare Company

Music ends with beat in reverse!

Rebecca:

I feel like I owe it to the listener and the listener is not necessarily a middle class cisgender white female or a male and sometimes I feel like from some of the teaching and reading and some of the history from what I’ve seen of Audio Description and words, it’s really taking one particular perspective. That is exclusionary and also not fair to people who are Black and Indigenous or people of color.

TR:

In general, no matter what country, fairness, access, equity that should be the goal.

Rebecca, who thinks quite critically on this subject of inclusion presented at a conference in Europe.

Rebecca:

The Advanced Research Seminar on Audio Description.

I, over the last, I would say five years or so, have been really been honing in on the idea of creating the Canadian accent for Audio Description. We here have had a lot of influences from England and also from the states. We haven’t had our own Audio Description culture in Canada. So I went and was the first person to present from Canada and I talked about creating the Canadian accent and describing race gender, class and recognizing our bias.

[TR in conversation with Rebecca:]

And how was that received?

Rebecca:

people were very interested. I think that there’s not a practice of using consultants quite as much as we do here in North America and specifically what I do. The other thing that was really well received was the fact that I presented it in a way that did not require any description. I described all of the images. I tried to make the entire experience inclusive to a point where the person who was operating the CART, the real time captioning, didn’t have anything to write. That was all just part of the example of how we can be more inclusive.

TR:

The responsibility of making media inclusive and accessible includes the role of Audio Description.

Rebecca:

Everybody deserves the opportunity to see themselves in a story. We as people who are helping to tell a story have a responsibility to do everything that we can to not exclude people from seeing themselves.

TR:

So what exactly does that responsibility include?

Rebecca:

even as Describers we need to understand what our own bias is. I live in a very progressive city. And I live in a arts bubble inside that city. I try and check myself against that as well. I don’t want to use language that is so open that only a very small amount of people with very specific references will understand.

We need to have more conversations with consultants and also understanding what the history is and what the perspective is of people who are heavy users of Audio Description. We need to talk about it.

TR:

She’s talking about multiple conversations from all perspectives. Some times that just means raising the issue.

Rebecca:

It’s all of those little tiny actions that every person can do just to point out when things could be better perhaps or when things could be more inclusive.

Just being self-reflective about how we’re receiving information. I think many voices is much better as opposed to a government mandate or something like that.

Sometimes words aren’t enough.

TR:

But the words can inspire actions that lead to real change. Like getting film makers and broadcasters to include a bit more space to allow for Audio Description.

Ultimately, the change happens when our thought process becomes more inclusive.

Rebecca:

If the creator of the material no matter what it is, has the Blind and partially sighted community in mind as part of their audience from the beginning.

TR:

Having Blind people in mind translates to our access not being an afterthought. When it comes to Audio Description?, we need to be centered.
[TR in conversation with Rebecca:]

So the idea that there are sighted people enjoying Audio Description?, that’s cool, that’s really cool and I get it because hopefully that means there will be more of it, right?

Rebecca:
Yeh!

[TR in conversation with Rebecca:]

Do you see the potential for that to be a problem?

Rebecca:

I’m really in favor of Audio Description guidelines and standards being created for the needs and wants of the Blind and partially sighted community. Anyone who is putting something forward that they call Audio Description is aware of these guidelines and is providing something that is standardized. That said I think it’s also okay to create things that are not necessarily Audio Description?, but use techniques of Audio Description and as long as they’re not called Audio Description. I think more is better and so as long as it’s not called Audio Description when it doesn’t meet the standard, go for it!

TR:

From my understanding, there are conversations happening today exploring these guidelines.
I’m not sure what will end up being decided, but I do know that if these conversations do not include people of color in a real way, including decision makers, then we have to ask the question, why? Is it just fashionable right now to appear as though we’re addressing issues of diversity?

It’s a similar question I asked of all those in the Flipping the Script series;

[TR in conversation with Elaine:]

It’s a simple question, so feel free to answer (laughs) because I’m asking it!

Elaine:

(Laughs) I see I have no choice. (Laughs) Okay!

[TR in conversation with Elaine:]

(Laughing )No, but answer it anyway you want.

My question is why, why AD?

Elaine:

Oh! That’s a lovely question.

AD has brought me into contact with people that I probably would have never have met. In terms of the Queer drag community that I’m now part of and speaking to Blind users and Blind performers as well. I think that’s enriched my life and I hope that the descriptions I give in turn enrich their experience.

Last year I remember telling someone another sighted person, that I did AD. They just laughed and were like Blind people don’t watch TV. That was just like a whole education let’s just say for that person. (Chuckles)

I think it’s a really, really beautiful service and I think that it’s having a bit of a moment over here where people are certainly from the describer point of view, people are starting to think about how we can change it and engage even further with the community who uses it and that’s really, really exciting to be part of honestly. It’s so so fun! I honestly want to keep on doing this and developing my skills and my confidence and listening to people.

— Music begins – a chill piano leads into a smooth jazz chill Hip Hop beat

Rebecca:

I am a storyteller, I was born that way (chuckles). I think it’s really important to be able to tell your story in a way that everyone can hear it, receive it. I don’t think we have any excuses to ignore that anymore. We have technology to help us out. I want to see the amazing wonderful gifts that actually like Blind and partially sighted creators present having had access to some of this more popular culture. Some kind of performance art. So I think it’s important for everybody to have those opportunities. and I really feel like access to art is as important as access to sport. I think it’s part of what makes us human. And so everybody should have this access.

I just think it’s fair!

TR:

That’s Rebecca Singh, you can call her CEO of SDS or Superior Description Services where she centers Audio Description.
Rebecca:

Also known as described Video here. I do live description, image description, I produce podcasts with the Blind and partially sighted community in mind. Consultation to help with Universal Design. My Twitter handle is @SDSDescriptions.. I’m also on Face Book Superior Description and you can always check me out at SuperiorDescription.com.

TR:

Elaine Lillian Joseph is on Twitter @@elaineLJoseph.

I’d like to thank Elaine for putting up with my attempt to include the London slang in our conversation.

[TR in conversation with Elaine:]

Init! (Hysterical laugh)

Elaine:

(Laughs) Oh my days, you really love Top Boy don’t you?

[TR in conversation with Elaine:]

I do!

I get in to the whole street shows and all that type of thing so, I’m sorry! it’s Hip Hop I’m going to be in there!

Elaine:

Ah, that makes you (possibly says me) really happy! I love it, I love it!

[TR in conversation with Elaine:]

Yeh! (Laughs)

TR:

Big shout out to Rebecca and Elaine for all they do and for openly sharing their experience and opinions for the improvement of AD for all.

So let me welcome you to the Reid My Mind Radio Family!

Audio: Air horn!

I’m hoping you’ll hear them back on the podcast in the future.

While this is the last official episode of 2020, you know I usually do something for the holiday season. Right now at the time of this recording, I have no idea what that is, but I’m pretty sure I’ll put something together to wrap up this incredibly challenging year.

To be sure you get that episode;
Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And let me do a bit of Audio Description for you. That’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

— Music Ends

Like my last name.

Audio: Reid My Mind Outro

Peace!

Hide the transcript

Flipping the Script on Audio Description Part Two – Voice matters

Wednesday, November 11th, 2020

Continuing with the question; When it comes to Audio Description, are we listening between the lines?

In this episode I’m joined by some extremely talented Voice Over Artists who are also lending their voice to some of your favorite Audio Description projects.

Allyson Johnson, Bill Larson, Inger Tudor and Tansy Alexander.

Each of our guests have more to say than what’s on the script

How important is voice? Not just the quality and tone, but what else is implied by what is heard? Is the voice indicative of an entire group of people. Can a woman’s voice fit a specific genre of film? Is there really a Black voice? Let’s flip the script and find out.

Listen

Transcript

Show the transcript


— Music begins – pulsating bright funky beat!

TR:

Greetings! Welcome back to another episode of Reid My Mind Radio.
The podcast bringing you compelling people impacted by all degrees of blindness and disability.

Audio: The beat comes to a stop after a record scratch “Hold Up!” DJ Cool from “Let Me Clear My throat”

I need to jump in with an amendment to my opening in order to acknowledge that yes, I should have posted this episode last week. However, last Tuesday was Election Day in the U.S and I just didn’t feel like it was the right thing to do.

Maybe it was an over analysis on my part, but if anyone actually missed the episode, I apologize. I just wasn’t in that space.

then yesterday, Saturday November 7, my wife yelled down to me, they called it for Joe!

Music: “A Brand New Day” The Wiz

So we took some time to celebrate and for a moment at least feel hopeful!

— Breathes in deep and exhales

That really does feel good!

Now back to my original opening.

Bring that beat back!

— DJ Scratch and then the pulsating bright funky music resumes!

Today we continue Flipping the Script on Audio Description and focus a bit on voices.
You can say voice matters. Or Voice Matters! Voice, matters!

Audio: Reid My Mind Radio Intro

#Intros

Inger:

My name is Inger Tudor. I am an African American woman , middle age, we’ll leave it at that. And I live in Los Angeles. I am a Voice Over Actor, I also do film, theater, television. I do some hosting, announcing and all that kind of fun stuff. Is there anything else you wanted me to tell you?

[TR in conversation with Inger:]

Did you say Audio Description?

Inger:

I didn’t because I was like oh that’s the assumed, but you’re right, I do Audio Description and audio books too.

— Music Begins – Upbeat Hip Hop beat

TR:

Earlier this year I had the chance to speak with several talented AD Narrators. I’ll tell you exactly where you heard them but go ahead and see if you recognize the voice or name.

Tansy:

Hi I’m Tansy Alexander. I’m a Caucasian woman. I’m five foot seven, I have Auburn hair. I’m very athletic and active. I do all variety from narration to audio books, to commercials, promos trailers, IVR phone systems. I’ve done pretty much it all.

Bill:

My name is Bill Larson I actually am a Voice Over artist. I do commercials, I do different types of announcing and so forth.
And I also do Audio Description.

Allyson:

My name is Allyson Johnson. I have been a professional Voice Artist for about 2 3 years. I’m about five foot five, a hundred and five to a hundred and seven pounds, I’m pretty thin. Now see here’s when I need an actual Audio Description writer because there so much better at this than I am. I read what they write and I think that is fantastic, but if I have to write it I’m like how do I describe my skin tone. Well, it’s kind of I would say, cafe ole. If you took coffee and you put a whole bunch of half and half in it, that’s my skin tone. I have people would say dark blonde, some people would say light brown ringlet curls. I wear glasses there like a brick red and black modeled polymer plastic frame. What else? Are there things that I’m leaving out?

[TR in conversation with Allyson:]

No, no you probably did more than most did. (Laughs) That’s why I left it vague, I just want to see what you do. Laughs.

Allyson:

Laughs… So that’s me!

TR:

Well, there’s way more to her than that! And we’ll get there, but first I know what you’re thinking. Thomas, that’s messed up, you didn’t ask Bill to describe himself.

He’s sort of off on his own.

Bill was one of the earlier interviews and the idea was not presented until after. However, stay tuned I’ll be sure to ask him more about himself during our conversation.

Each of our narrators share a few things in common. They’re all experienced Voice Over Artists who have either acting backgrounds, radio and even a bit of television. Of course, they each have great voices and know how to use them.

Inger Tudor used hers as a DJ at her college radio station. After graduating Harvard Law she put it to use as a litigator.

While working at a mid-size law firm in Boston, Inger was in conversation with another attorney who side gigged as a studio musician. She asked Inger an important question.

Inger:
What is it that you like about law?

I told her what I liked and why I wanted to be a lawyer. She said,
(– Music ends.)
you like acting in a courtroom, go act. You’re not married, you don’t have kids you don’t have a mortgage do it now, because you’re going to wake up and go okay, I want to do it and you’ve got all these things that keep you from doing something you can actually do. I thought about it and I prayed about it and I was like you know what, she is absolutely right!

TR:

She began taking classes and working in the field. This included voice acting. Boston happened to be a good market for her to get her start and SAG or Screen Actors Guild card. This gave her greater access to opportunities. Moving to New York city gave her even more. By the time she moved out to LA she was acting full time and no longer doing any law related work. Staying in touch with a playwright helped lead to her first AD opportunity.

Inger:

About five years ago he contacted me and said oh, I forgot that you do voice over. Would you come in and audition for me. I work in a department where we do descriptive narration for film and television.

TR:

And today!

Inger:

I do a lot of recording for the Media Access Group which is a subsidiary of WGBH the PBS station out of Boston.

TR:

Tansy’s introduction to VO felt more like that Hollywood story.

Tansy

I was out with my friend who did Voice Over, my friend Steve. We were at lunch at a restaurant and we were chatting about Voice Over and other things and a few minutes later a gentleman came over, a very distinguished gentleman, and said, do you do radio or voice over and I said well, not yet but my friend is trying to tell me to do it. He said well when you’re ready give me a call. He’s one of the partners in Abrams Rubleoff.

I never did sign with them but things did go from there because that was the impetus I needed to take it seriously and get things going.

TR:

And indeed things started going. Tansy intro to AD came after volunteering for a radio reading service in Los Angeles.

Tansy:

AIRS LA.

They would have us reading articles out of magazines and so forth then I decided since I am an actress as well to cover the entertainment portion which was really fun. I did that for a few years and then out of the blue this other opportunity came around not related, to continue to be of service to the Blind community through doing Audio Description.

TR:

Allyson’s first AD project came through her friend who owned a post-production company. He was approached by the producers of another film who were interested in including AD on their film and wondered who would be right to narrate. Why not an audio book narrator, he thought?

Allyson:

My first Audio Description was for the movie that he was working on which was the major motion picture Arrival. I left that session and I thought this is fantastic. I sort of went on my own journey and found Audio Description Training Retreats in North Carolina, Jan and Colleen who teach this wonderful program. That’s how I learned. It was within the year of me doing that film.

TR:

Bill’s introduction to AD?

Bill:

It was by accident. I used to work at Best Buy. We had this demonstration room where you could go in and experience what a home theater would sound like.

It wasn’t working right. We actually had a Blue Ray in there to demo for people but to get the normal audio that you would hear on a Blue Ray to play you had to cycle through at that time all of the other audio channels; French German, Chinese, the whole bit. The last track was Audio Description. When I heard somebody’s voice start to speak; (in his AD Narrator delivery)

“A plane flies over head” I listened to this and I said I need to do this. This is important.

[TR in conversation with Bill:]

Do you remember what movie that was?

Bill:

Yes I do, Kong, Skull Island.

TR:

Bill grabbed some more DVD’s and researched more about AD. He learned of the American Council of the Blind AD Project and headed out to the conference that year.

Bill:

That conference was in St. Louis that year. I was lucky enough to meet people who do and produce Audio Description. Did a demo for them and the rest is history.

TR:

Voice Over and AD fall into the entertainment industry which definitely has a history.

Allyson:

When I started out in this business, when I was still doing demo tapes on cassette, the sort of common acceptance was you would do a demo tape without your photo on it for the most part. Certainly in commercial voice over world which is where I started. They didn’t necessarily want to know what you looked like and you as the voice talent didn’t want people to know what you looked like either because you wanted them to make a decision about whether or not to cast you based on your voice. If you already been cast in something you wanted the listener to be able to create their own image of who you were based on what you sounded like so it sort of wasn’t relevant what you looked like. In some ways it could be either distracting or could give someone the wrong idea because sighted people tend to make very quick judgements when they look at someone. And if you don’t look like what you sound like in the voice over world that’s a whole other kind of issue.

Bill:

I have worked with different casting people and they look at my picture and have their own preconceived notions of how I sound.
[TR in conversation with Bill:]

Could you describe yourself?

Bill:

Are you of age to know Al B Sure?

[TR in conversation with Bill:]

Yeah!

Bill:

(Singing)

“I can tell you how I feel about you night and day!”

[TR in conversation with Bill:]

Laughing… I’m keeping this!

Bill:

I know you are, that’s alright though.

(Singing in his Al B Sure impression)

“Oh, Girl!”

Al B Sure was the bane of my existence in high school. Oh my God you look like Al B Sure.

TR:

If you don’t know Al B Sure, well he’s an R&B singer from the 80’s. He was something of a heart throb who had lots of female fans.

In case you’re listening Al, don’t worry Bill isn’t planning on leaving his day job any time soon.

Bill:

I have worked very hard on my voice. First of all I come from Chicago. I had to work the Chicago out of my voice, but at the same time I wanted my voice to be universal. I didn’t want somebody looking at me and making an assumption about me and that actually speaks to what’s going on right now in the world. I don’t want them to say oh well he looks Black so he must sound Black so I’m only going to give him the voice work for Black actors. I know the business enough to know what sound somebody is looking for for something. I would never, never ever say to use me if my voice is not appropriate for something.

TR:

Bill recalled one particular time when he went out for a role that helped him come to an understanding.

Bill:

Because of how I looked they wanted me to sound more ethnic. They didn’t want me to be my natural self. Because my natural self sounds like this. I am a bi-racial Black man in this country. There is no denying that. So when you see me as they did, they saw a voice in their head that was counter to how I actually speak. the product I thought sounded like crap because I was trying to be something that I wasn’t based on the notion of what they wanted me to sound like. I wasn’t me I wasn’t my authentic self. But more than that, there are other actors out there especially actors of color, announcers of color who would have given them exactly what they were looking for. So I thought to myself I’m never going to do that again. When you’re in this business, you’re always looking for work , I just don’t ever want to take the work out of somebody’s hands who could deliver what somebody’s vision is.

TR:

The goal of a fair selection process is to remove pre-judgement and create a system based on merit. In Voice Over that means the best voice for the role wins. Yet that’s subjective from the start. Meanwhile we know there are many ways to pre-judge.

Inger:

Inger is Scandinavian and Tudor is Welsh. There usually not expecting someone African American. Depending on who I’m talking to and how I’m talking, they can’t necessarily tell what ethnicity I am over the phone. It can become a funny thing or sometimes a frustrating thing.

TR:

Although not specific to the sort of Voice Over acting she does today, Inger shared a story about a time when she interviewed for a telemarketing position. Let’s be honest, the best telemarketers are truly acting!

Inger:
The initial interview was over the phone because they need to see how you sound. I’m talking in my corporate voice and how I would talk if I was talking to someone for a survey or what have you. I show up for the first day of training. Actually it happened to be a fairly diverse group of people but they couldn’t figure out why I was there. I said Oh, I’m here for the job interview and they all look at me like well who are you? I said I’m Inger Tudor and then I literally see like five or six heads all turn to each other with this look like what, huh? And I went “Ya, ya, you expecting someone Swedish, ya!” (Said in accent) So they all started laughing, because they were!
My name can work for me or it can work against me. Knowing my ethnicity can work for me or against me.

TR:

If we really think about it, the impact goes beyond the individual.

Voice Over agents for example. Pre-judgements can limit opportunities not only for the clients, but also the agents as they receive percentage of the work they find.

Inger freelances with two separate agents.

Inger:

One of them only brings me in for Black Voice Overs. the other one will bring me in for things that are a lower register or someone that’s middle age or an authoritative voice. Things that fit the type of characters I would play. And they bring me in for the Black characters as well.

TR:
Casting a project is often more than just voice. A narrator familiar with the culture for example, can provide insight into a project that those outside may have never realized they were lacking.

Allyson:

I did the Audio Description for If Beale Street Could Talk. What a glorious film that was and the description was so beautiful. I think it was the description for something that Regina’s character was putting on or taking off. Something with her hair.

TR:

Here’s a culturally competent moment for you. Those in the know, heard that and paused. Those who don’t know, well, we’ll just get back to the conversation.

Allyson:

I don’t know what the word was that they used to describe it but I was like I don’t know what that word is but that is not what we would call it and I don’t think anyone who’s listening to this would understand what you mean when you say it.

— Music Begins – slow dark Hip Hop beat

[TR in conversation with Allyson:]

Now you said that’s not what we call it. Who was the we; women, Black women?

Allyson:

I think in that situation it was Black people.

TR:

Issues of race and identity aren’t new, right?

Allyson:

There were no phrases like bi-racial, nontraditional casting, ethnically ambiguous. We didn’t have ethnically ambiguous back then (laughs) I mean we did because I am it but we didn’t call it anything.

[TR in conversation with Allyson:]

(Laughing) Right!

TR:

A natural extension of voice acting especially for commercials is on screen acting. The casting process there often begins with the image. If you’re interested in auditioning for a specific role, well your look will need to match the casting director’s or any other decision maker’s perception of that role.

Allyson

Whatever the category was they thought I might fit in, I probably wouldn’t fit.

Voice Over made more sense to me because nobody was necessarily thinking about it.

TR:

Necessarily!

Allyson:

They would use phrases in the specs like we’re looking for an urban – urban was always buzz word. It’s like ok, so you want Black.

In terms of Audio Description, I have been hired to do Audio Description for shows that are primarily dealing with Black topics or set in a place where the majority of characters on the screen are all Black. And I know that I’m being hired because they want a person of color to do the Audio Description. So in that sense it does play a factor that I happen to be a Black Audio Describer. It’s more of them just wanting to be sensitive to the content and to the material. You and I both know everybody needs a little bit more representation.

##Tansy:

And if I may broach this subject, I do think that we need to see more inclusiveness on the narrator side.

I get plenty of work, but I still think there’s a gender bias in the industry for males to succeed.

It’s the same it’s been for the whole spectrum of Voice Over since I started over twenty years ago, the belief that a male will sell it better. For whatever reason; the voice will cut through or people listen more to a man than a woman. These are stereotypes that probably aren’t true at all. These decisions to use a man or a woman are extraordinarily subjective.

TR:

Narrating for over ten years, Tansy had the opportunity to help in the early stages of multiple AD production companies.

Tansy:

I used to do a lot of action, landing on the moon, war movies, I’ve done a few last year. I can do a romantic comedy, I can do a children’s thing, I can get in there and get gritty. But all of a sudden they decide oh well for all the Marvel we need to have men.

TR:

Tansy noted some growth in opportunities expansion with the advent of female lead characters.

Bias we know goes beyond race and gender.

Bill:

I am double the man I used to be. (Laughs) So there was a time when I lost a tremendous amount of weight. But I don’t look like that anymore. When you’re in the professional acting and voice over field it’s best if you don’t misrepresent yourself. Now a days they call it Catfishing. If you’re cast for something based on an old picture and when you get to set and they realize you are double the size or your size card is out of date or your voice changes, then they’re probably going to dismiss you and not hire you again. I know how I sound. I want people to hire me. (Pause) And I love the look on their faces when I walk in the studio too. (Laughing )

[TR in conversation with Bill:]

Laughing

TR:

Representation really is serious business.

Have you ever really considered who you expect to hear narrating action movies or thrillers versus dramas or romance films? What about those films based in or on communities of color?

. For closing arguments I’ll call the litigator.

Inger:

Yes, we should be voicing the characters of color, but don’t Ghetto-ize us and make that the only things you give us to do. Cast me also because of the quality of my voice. If you’re looking for something that has a particular quality and ethnicity is not important to what the character is then I should be considered as well as a white actress. You shouldn’t just assume that it has to be someone white if that’s not important to the story.

TR:

I know some people hear this and say, why should it matter? Shouldn’t anyone with a suitable clear voice just be able to voice characters or narrate films no matter their race, ethnicity, gender etc.?

Inger:

Hold on a minute. Four hundred years, we haven’t had the opportunity to do a lot of stuff, take a seat for a moment because I guarantee you your seat for a moment will not end up being four hundred years. Then when we get to the place where everybody can do everything that’s fine, but we’re not there yet and we need to catch up so give us a minute, ok?

[TR in conversation with Inger:]

There it is!

— Music ends with a base drop that pulsates and slowly fades out.

TR:

Did you recognize anyone? Here’s some of the projects our narrators voiced.

Allyson:

Arrival was my first. It sort of made me realize what I now know I like about description. The guys who wrote that script were not “Description Writers,” but they were the sound guys. They knew that movie backwards and forwards. They’d seen it over thirty times so they knew what was important to put in the copy. I only know that now looking back.

Audio: Allyson narrating Queen Sono

TR:

Allyson also narrated If beale Street Could Talk and can be heard on Queen Sono on Netflix.

Just this past spring, ESPN premiered The Last Dance. A documentary about The reign of the Chicago Bulls in the 90’s. I’m not really a sports fan, but I do love a good sports documentary. Unfortunately, it did not include AD. That is until it was released on Netflix this summer.

Audio: Bill narrating The Last Dance

Bill:

being from Chicago, growing up in that time knowing that the Bulls were that championship team and we had two three peats. That was amazing to me.

TR:

It just so happens, Bill has a connection to sports.

Bill:

If you happen to attend a Philadelphia Eagles football game, I’m one of the in stadium announcers there.

I’m not announcing the game, that’s actually the guy next to me. We’re not on radio, we are in stadium only. Whenever the teams go to a TV timeout, that’s when I speak because people in the stadium hear commercials or see promotions and I announce those.

TR:

In addition to The Last Dance on Netflix you can hear Bill on Money Heist and Project Power.

Audio: Inger narrating Hanna on Amazon Prime

If you’re familiar with The Neighborhood, Amazon’s Jack Ryan, Proud Mary or Once Upon A time in Hollywood then you probably heard Inger as she narrated these projects.

Audio: Tansy narrating See on Apple TV

Did you recognize Tansy’s voice?

As I mentioned to her, technically this is her second time on the podcast as her voice opened my episode with Joe Strechay and his involvement with Apple TV’s See.

Tansy:

Oh my God, well thank you, thank you very much. (Laughs)

Well, that’s interesting, ok, so now I have a question for you. If you watched See did you not know that was me by listening to me talk right now.

TR:

Ok, well, I didn’t. To be fair, yes, I could have had her full bio for the interview, but the interview wasn’t about specific projects. Tansy Alexander has voiced hundreds of projects over the years including Orange is the New Black, Stranger Things and she’s even doing live narration for the WWE. or World Wrestling Entertainment.

When I asked her if any stand out she struggled a bit but mentioned one

Tansy:

Switched at birth series.

We are doing a show with Audio Description but we’ve got a daughter in the show who can’t hear so we got sign language going on. We also have to describe any sub titles. It’s all fascinating how it works together. One of the episodes was completely done in sign language, so there was no talking what so ever in this whole episode so we had to bring in other people to do some of the reading of their sub titles because I couldn’t do them all it was just too many. It would sound stupid nobody would know what’s going on.

TR:
Having people know what’s going on is important to Tansy.

Tansy:

A person who is not able to see what’s going on is left out of the discussion. You can access the show but you can’t access the whole content. It’s not fair. I’m about equity.

[TR in conversation with Inger:]

Why AD? Why do you enjoy Audio Description? And I’m assuming you enjoy Audio Description.

Inger:

Oh, I do actually!

It’s a number of things.

One, I’ve always liked reading aloud. It was actually how I got into acting was in grade school, when we had to read aloud in class I would get so into doing it and giving the different characters different voices that they started sticking me in plays.

When you have the opportunity to see how it effects people like when you actually have an audience or if you’re reading to a group of people, you can gauge how your words are affecting them. If you change the tone, change the pitch, if you change the pace. What that does to how they’re receiving it, how they’re taking it in how they’re being emotionally effected by what you say.

TR:

yet, there’s little immediate feedback in Audio Description.

Inger:

I like the aspect of knowing everything I’m doing in terms of entertainment or acting just being about being on stage. There is some part of it that you want to be service, you want what you’re doing to help somebody in some way. Whether you’re helping them to see something different about themselves or about how they view the world or particular groups of people or what have you. One of the things I appreciate about the descriptive narration is you feel like you’re at least doing something that you know directly helps a particular group of people have access to something that they might not otherwise have access to. To being able to more fully enjoy a television show or a film because you’re describing the action that’s going on. So it’s one of those areas where you can feel like you’re entertainment and service are merging.

Bill:

I take this very seriously and I want you as a consumer of Audio Description to know that. Audio Description is a responsibility. Someone is watching this movie or this TV show. If you don’t take that craft, if you don’t take what you do seriously enough then the person who’s listening to it is not going to have a good experience and they’re marginalized even more. Just because it’s provided doesn’t mean it’s very good. And I always strive for it to be good.

— Music begins – A driving upbeat Hip Hop beat

TR:

Ladies & gentlemen, join me in saluting:
Allyson Johnson;

Allyson:

My social media handle is the same on everything @AllysonsVoice And that’s AllysonsVoice (spelled out)

TR:

Mr. Bill Larson

Bill:

On Insta Gram @BillIvoryLarson. Hit me up! let’s have a conversation.

TR:

Tansy Alexander

Tansy:

There’s links on my website TansyAlexander.com. TansyAlexander (spelled out)

And last but definitely not least, Inger Tudor. By the way, during the pandemic Inger began a cool project during the pandemic. The name really does capture the mission.

Inger:

“A Poem A Day Art and Love in the Time of Corona”

TR:

She continues to bring you exactly that. Every day a new poem read aloud. You can find it on her social media, Facebook, twitter and Insta Gram all @IngerTudor.

Inger:

IngerTudor (Spelled out)

TR:

Occasionally she’s even dropping some of her own original work.

Inger:

If you do check it out feel free to leave a comment about a poem or a poet or a topic you would like me to do a poem on.

[TR in conversation with Inger:]

Oh, you’re taking requests? (Laughs)

Inger:

I take requests!

TR:

As do I! Ahem!

— Music ends.

Four Voice Over Artists
Become Narrators for what we know as AD
they get interviewed for a podcast
And now become Reid My Mind Radio Family!

Audio: Air Horns

Audio: “It’s official!”

TR:

I salute you all!

— Music begins – A driving upbeat Hip Hop beat

TR:

Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And , you know I told you this before and I’m going to tell you every single time… ReidMyMind.com is R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Audio: Reid My Mind Outro

Peace!

Hide the transcript

Charles Curtis Blackwell – Words of Meaning Empowerment & Inspiration

Wednesday, October 21st, 2020

A side Head shot of Charles Curtis Blackwell in a dark space leaning forward in thought with his pointer finger placed on his lip and the sunlight cascading across his face

Photo by Liz Moughon


Visual Artist, Writer and Poet Charles Curtis Blackwell, the subject of this year’s #Superfest2020 feature film God Given Talent shares stories of his life. We hear pivotal moments of influence including Jazz and school busing. Loss, Forgiveness, Purpose and of course Art!

His experience and approach to adjusting to vision loss is a must hear for anyone new to blindness. As evident in the episode, I too was inspired and hope this production, may I dare say, is a bit more artistic.

This episode is dedicated to the memory of one of my teachers; Sijo Abu Bakr. May We Remain!

Listen

Resources

Transcript

Show the transcript

TR:

Audio: City soundscape merges into a nightclub atmosphere.

TR as on stage Host:

Greetings & Salutations brothers and sisters!
My name is Thomas Reid.

— Applause

Thank you, thank you very much!

Allow me to welcome you all to the Reid My Mind Lounge.!

— Jazz Music Begins

That’s right; today’s episode deserves an appropriate atmosphere.
I want you to sit back and really feel this one.
This was inspired. And y’all know I don’t use that word lightly.

Mr. Charles Curtis Blackwell is an artist. A visual artist, a writer, poet and definitely a story teller.

Where I come from, what he has to share, we call science or gems. Either way, he’s dropping it!
My hope is that you pick it up!

It all drops after the intro!

Audio: Reid My Mind Radio Theme

TR:

Influence!

Music – Rahsan Roland Kirk, Volunteer Slavery

CC:
Have you ever heard of Rahsaan Roland Kirk?

Jazz horn player. He was more than that. Originally from Columbus but he wound up in Newark. He was totally Blind. He played three saxophones at the same time. He had them hooked together. He influenced a lot of Jazz musicians with this thing called circular breathing. In one nostril and out of the other. Their still blowing. You think they’re holding the note.

I caught him live before I lost my eyesight.

Kind of influenced me years later. I says ok well just do whatever.

Somebody said hey man how you do that? I’ve done some crazy stuff with the poetry. I just said hey man; I’m kind of like Rahsaan Roland Kirk you just got to get crazy on stage. Just go ahead you know get wild, you know (laughs)!

Music Begins… Jazz Track 9 from Charles Curtis Blackwell In Color

I liked Jazz at an early age. They crammed classical down our throats going from 6th grade to 7th grade. It was Mozart, Bach, Beethoven you know, so I got turned off. I tried to flunk the test. Wound up in music anyway. (Laughs) next semester I transferred back to art.

I was doing art before 5th grade. I remember the instructor she pointed out this drawing that I did. It had the whole class’s attention.

maybe because art it just came easy. I didn’t know I was taking it for granted.

Audio: Historic Radio News Broadcast

“the Supreme Court ruled in 1954, that pupils cannot be segregated by law on the basis of race.”

CC:

I was in a busing program. They bused us to this high school from this neighborhood in Sacramento. I was in 9th grade; I think I was around 13 or 14. They didn’t want us there.

The first day we got there, there were white folks with pickets. The end of the school year it turned into a racial riot; 14 people arrested one in the hospital and another one that was supposed to be in the hospital, he was Black, they arrested him instead, they didn’t send him to the hospital. One of the most scary days of my life. I was small man and I was scared man, these cats could fight.

My folks continued to make me go to the school. I didn’t really want to go. And it seemed like it wasn’t a day past some racial remark, I don’t know if you want me to mention those names on here you know. It really messed with me.

There was one incident. They had a policy; you could put the gloves on and have a boxing thing. Oh cool!

This guy kept messing with me. Shoving me into lockers, kicking me, but he always had his buddies with him. His name was Souza. He was a distance runner, He was up for championship.

This went from year to the next year. So I’m from the neighborhood, right. This year we had the same PE class. I told the coach I want to put the gloves on. The first coach his name was McFadden, he was ok. He spoke to me and said ok, we’ll call him in. I trusted McFadden. The other coach, he was a new coach. I didn’t know about him because he wasn’t there the day of the riot. The day of the riot the teachers, they weren’t breaking up the fights, they were yelling you damn Niggers! (Pause) These were teachers. You couldn’t trust nobody.

Coach called him.

Man I’m busy tucking my shirt in, tightening up my tennis shoes, I’m getting ready you know.

They say yegh Charles says that you’ve been harassing him, you did this and you did that.

No, no, no I didn’t!

The new coach he was sitting there, he jumped up and said you a such and such liar I saw you do it. Man, I was knocked off my feet.

They turned to Souza and said what is you ready? He says no, no I don’t want to…

I’m getting teed off. He don’t want to box with me. They say well do you want to apologize to Blackwell (laughs…). I ain’t want no apology. (Laughs…)
The dude apologized, the coach says ok Charles can you accept his apology. I did but I didn’t really want to. (Laughs….)

Audio: Sound of white school busing protests.

All this racism stuff and busing program stuff, I had poor self-esteem.

I was like a D student. My idea was like finish high school, get a job as a janitor and you know bang, that was it. I didn’t have no big aspirations.

I got into reading.

Audio: School bell ringing

We had to write like a newspaper article. And the way I learned how to write was from reading the San Francisco Chronicle. They had real good writers at that time. And so that’s how I kind of picked up on expository writing from reading the newspaper. I wrote an article for this class and you didn’t write this. Someone else wrote it. You know, this is not your style of writing, you didn’t write this. I got a low grade. I said eh whatever. Sometimes they give you a low grade realizing oh wow, what they’re really telling you is you got raw brute talent.

Music transition…

I used to sell the paper it was called the Sacramento Observer, it was a Black newspaper. William Lee, he was over the paper. So I called the paper and spoke to him and I said what if I write a story about these Black students graduating from this busing program. It wasn’t me it was the class ahead of me. They were graduating. He said yeh, write it and get it to us we’ll run it. I said ok. Paper comes out I open up the paper looked inside, looked on the back of the paper I said wow that’s funny they said they were going to run the article. So I called the newspaper, Secretary answered. I said yeh, this is Charles Blackwell, she says yes! I wrote this article they said they were going to run the article in the newspaper, she says yes. I said well I looked inside the paper and I didn’t see then I looked on the back of the paper and I didn’t see it. She said well did you look on the front page? (Laughing) I was knocked off my feet man! I never would have thought they would put the article on the front page. That was poor self-esteem. man I was just flabbergasted, I sold extra copies. I would go door to door selling the paper man, you know. (Laughs…)

Music Transition

I got to college my whole world started changing.

I was an art major. I was trained to do sketches. Funny, I was talking to you earlier about Rahsaan Roland Kirk. So I had a copy of Down Beat Magazine. We had to turn in a final drawing. Kind of like a shadow of the person you know it’s like super imposed, almost like shading. I did it with my 20/20 eyesight just looking at it and doing it. And the instructor said you used the Opaque projector that’s not right. I said no I didn’t use no Opaque projector; I just did it from a magazine. He downgraded me but he was telling me that’s how good my eyesight was.

TR:

Loss!

Audio: Sound of ocean waves continues with van driving…

CC:

I was staying in Santa Cruz for a little while. I was with some friends so we get in the van and go to the ocean. Stop at one place and we’d go further up. The waves were coming in. So they get out and they go down.

I’m in the van, I’m reading this book. A little while later I get out. I go down but I’m going the wrong way. I’m thinking this is the path. I made the mistake of allowing the terrain to half way carry me. There was this big rock, I was going fast and I said well I’ll just go jump and go over the rock. I was assuming it would be a slant. There was a cliff. I didn’t know.

— brief silence

Temporarily paralyzed on one side, concussion, internal bleeding. Broke one small bone. It was my finger. I don’t know how that happened.

Ah man, I just knew I was going to die.

By the grace of God here I am.

I was in the hospital for like a week, seven eight days, something like that. I don’t know man, next thing I know I’m up and going and I returned to my place in Santa Cruz. A few days later I headed back to Sacramento trying to regroup.

I got back in college a few months later.

Finished that semester. Christmas time man, we partied like crazy. I went to every party there was and the next thing you know I met this girl; I was in love man I wanted to get married.

Music – Cymbal crescendo followed by a cymbal crash and flute begins…
Track 6 from Charles Curtis Blackwell, In Color
The unspeakable artist
Yearning, in and out of the room
If we sit in a dark room too long
We will meet the who
In the form of a tormented scream
Examining who we really are

Cymbal crash

CC:

I’m driving, I left college and I’m headed home and I remember I’m at this intersection and the horns are honking behind me and I had to turn. I barely made it.

Audio continues from Track 6 from Charles Curtis Blackwell, In Color

Cymbal crash

And has fearless as we may be to ourselves
Those ghostly cries are all of us laid out in the dark

CC:

They’re doing all these tests, morning to night.
They call it an Edema – it’s where I hit and the fluid went to a state of rest and when it returned back into motion it left my macular pale. Macular Degeneration.

Audio continues from Track 6 from Charles Curtis Blackwell, In Color

But if we stay in a dark room for so long we could see all the colors of the rainbow
Which reside on the other side where tombstones, grave sights pilferage and sorrows dwell.

CC:

They told me there’s nothing we can do. it all comes down to God. That was the end man, I just gave up.

I just dropped out of college. I didn’t go sign out or nothing.

Audio from Track 6 from Charles Curtis Blackwell, In Color.

Magenta unwrapped, indigo unveiled and cobalt for all those chance given up when the soul gave chase to something of an eastern religion.
For residing in a dark room for so long can cause one to worship the form instead of the creator.

CC:

It was like what do we do to carry us through and it’s kind of bad but I was out drinking hook up with some friends get a beer. Somebody else would have some hard liquor. I was doing that too drinking wine.

Audio from Track 6 from Charles Curtis Blackwell, In Color.

Many hales for the blood we fear running through our veins
Flowing upward like the Nile to our heads
In the dark room so sacred yet so cold the skin can’t breathe it

This tranquil rite of passage
Oh woman can you hear me in absence of gender
Nothing but flesh crawling in the dark
Solitary confinement

CC:

The worse thing I think I did, I didn’t know how to be… (Phone connection failing…)
Can you hear me any better? 1, 2, 3… that’s better?
Ok, I’ll turn around then …

I was raised southern family, my folks from Mississippi.

The idea, if you’re going to be with this person you going to be married, you gotta be able to provide. You got to be this man. The male role.

It ain’t about the male role, the macho, the strong…
So that was a big mistake I made trying to push her away, put her at a distance. I was 20. We get taught certain things but we realize that’s not going to help you in terms of dealing with life.

All I remember man was being in the bedroom and crying day in and day out. I would never tell her that’s what I was doing, which was really bad

When life hits in such a manner what do you got to hold onto. Faith and trying to trust God and trying to believe.

Audio Cymbal crash

Might be somebody there that could help you build (hope) and (encourage you to live).
(Each emphasized with echo audio effect…)

Audio: Subway train on tracks

CC:

Wound up at some friends. They were having a pool party at some apartment complex.

Audio: Train comes to screeching stop.
Audio from Track1 Charles Curtis Blackwell, In Color

Pre De Term Mind! Mind! Pre Det term Mind!

CC:

I wound up sleeping at one person’s house, another house.

Had a fight with my Dad, he snatched the phone. I was a psychological mess.

This friend, his name was Ken, we had met on a bus. And we were talking, we discovered we were both born on the same day. He came and visited me while I lost my eye sight. He was from the Santa Cruz area.

It was getting to the point where I really got depressed. I mean real, real serious depressed. And then I just kind of disappeared. Nobody knew where I was. I wound up at the bus station. I went on to Santa Cruz and caught up with ken. I started a fight with the landlord. I was going crazy! I didn’t want to pay no rent. (Laughs) Really wasn’t going to make no sense.

I wound up sleeping on the beach. I got a cheap room at a hotel. Something like six dollars a night. I think I only had a hundred.

I would hang out at this book store and listen to people talking.

I was standing on the corner, people came by and said hey brother, do you know anything about Jesus. I says yeh, God and Jesus I know, what I need right now is food, shelter and clothing. And they said brother we got food, shelter and clothing. I said what? It was a Christian Commune. So I went and stayed with them.

They had me on the laundry detail. They had a second hand store. I was with this other guy, the only other brother and we would go and pickup refrigerators and stoves and other stuff. When I look back on it things moved kind of fast. January I’m losing my sight and going bizerk in the head, the crying and everything. Around August I had disappeared . The early part of September I wound up with this commune. From September til about January I had returned back to my folks in Sacramento.

It got me back into the swing of things not feeling like I’m going to be an invalid for the rest of my life.

Audio from Track1 Charles Curtis Blackwell, In Color

Y’all gonna hear from me… someday!

An older Smokey voice off mic repeats

Y’all gonna hear from me… someday!

But the Blue line escapes all the mental anguish, mental breakdown of knots tied up inside.
(fades out)

Music – Curtis Mayfield Back to the World

CC:

Curtis Mayfield had this song called Back to the World.

I leave the commune and now I’m back in the world. The world is not the same as the commune. People there are kind of helpful and everything. Now I’m back in the world and I didn’t know what to do.

Even though I got back into the swing of things I hadn’t really adjusted all the way.

Signed up with Voc Rehab. They ask if you need a cane. I use a cane now but at first I didn’t. There main thing was trying to make a person productive in terms of society, getting a job, being trained for some kind of work situation. Then they had another part of going to college.

It was the social worker. She was with the welfare department at that time. She was this white lady and her isms started coming out. I made the mistake of when I left town, disappeared, I was 21, I got a beer. I called her of all people, I said I’m not going to be here, I’m gone. Where you going? Well I’m busy drinking a beer. I was dismantled anyway. Some people they don’t understand that because there all emphasis is like get you ready to be productive in society. Well how you going to be productive when inside, you’re a wreck. They don’t comprehend it. She’s saying uh, last time I spoke to Charles he was busy getting drunk on the phone and he was going to do this, this and this. And I was just sitting there , I know it was God. I just sat there and let her run off at the mouth. Huh!

“Words that have meaning” – CC with Ambient effect

Then the guy from Voc Rehab, well you really don’t seem like you know what you want to do in life. And I said oh, ok. I was just agreeing because I was in a different place spiritually. A little time past and I called him and said hey I think I want to go to college.

If you can get me two C’s we’ll fund you to go to college. So I did summer school and got two B’s but I was trying to get two A’s.

They always shifted me, changed, got a different guy for Voc. Rehab. This guy was totally Blind, ok? Man, I go in to meet with the dude and we’re talking. I’m saying oh, this is going to be ok because he’s totally Blind, he can relate to my situation, being partly Blind you know. We’re sitting there talking for over an hour. He’s interviewing me and at the very end of the interview he says ok, boy!

Man he did it in such a manner, I was just shocked.

“Words can help you be empowered!” – CC with Ambient effect

My Dad wasn’t the best communicator. I got back home, I was angry. My Dad was waxing the car. My Dad had a Cadillac (laughs). Picked up a rag, what the heck wax the car, maybe that will help me. I told him what had happened and my Dad, like I said, he wasn’t a real good communicator but this was one time he said something.

He said, he’s testing you.

He’s testing me?

Yeh, he’s testing you.

And that’s all my Dad said.

I milked that counselor like crazy. every time they had something to offer I grabbed it. So we had to bring our grades in, well it looks like you got some A’s here and you got a B and an A and another A . He says well, what kind of help do you need? Well, we got cassette recorders and do you need more reader service, I says oh yeh, oh yeh!

I get out of college and I could have changed counselors but I’m like no I’m gonna stay with this dude because I know what’ he’s like. He was testing me and I’m reading him.

I get out, well congratulations Charles. You can’t go to graduate school, we don’t have no money. We got a training program here.

You could have a cafeteria in a federal building.

I went to Montana, I went to Seattle, Los Angeles trying to get a job. Couldn’t get a job. The reality hit me, being partly Blind, ain’t no opportunities. I signed up!

When almost two weeks or a month we’re sitting at this table. This white dude is sitting next to me. He’s much older than me. He was losing his eyesight. This other guy’s across from me, he was Mexican, fresh out of Soledad prison, but he was in the program too. The guy in charge of the program it was his cafeteria, the guy comes up and says Charlie my boy, you talk back to my employees you can’t remain here you understand that. And I said yes! Just automatically. The white dude sitting next to me said that was F’d up. He was in his 40’s. You know something was wrong. The Mexican fresh out of Soledad said Charles are you ok?

I come back to the world, I’m being all well love one another be real open, be kind to people. This is the racism of America. Even though I may change the world hadn’t changed. I had to deal with it some kind of way. That’s the horror of this country. This is it, this is what’s on the table.

The next day man, I scared the slop out of that man. I threatened that man like crazy man. (laugh) They called a meeting with another state official. The man had me, the guy I had threatened.

Alright Charles, he says he’s scared to be around you. Well just what the F do you want.

“Words that can help you be inspired” – CC with Ambient effect

I came up during the 60’s man. I was involved in the Black student Union, we got 9 out of 10 demands for Black Studies and here this joker gonna do something racist like this.

You know how we learn from people. My mind went back to this brother, his name was Amyl Palmer, he was head of the Black Student Union. The brother could deal, he was way older than me. I leaned back and said what you got to offer?

You want to go to graduate school? I said that sounds workable. (Laughs) So I went to grad school. (Laughs)

CC:

A buddy of mine wrote a poem. I like real conversations.

Real conversations can really help you in life. What is it that helped me, you know, having real conversations like words that have meaning. Words can help you be empowered. Words that can help you be inspired.

Music Begins…

CC:
You gotta deal with the race and then you got to deal with people’s ignorance toward disability even with Black folks.

You think they’re going to relate to your blindness.

You might know, Berkley is where the center for independent living started. They were filing law suits way back in the 70’s. You could be in Berkley it could be a totally different story as opposed to being in Oakland. You get to Oakland, you get people like; Hey, is you blind? (Laughs…) I’ll be waiting for a bus. Hey I’m trying to catch the bus … it’s right there don’t you see the sign? And I’m carrying a cane now. You try to say ok, let it teach me something, try to just grin and bear it, but if you’re trying to hurry up and get somewhere. Let’s say there’s two people at the bus stop. I ask somebody and they say something ridiculous like it’s right there just look at it. I just turn to the next person and say, excuse me can you tell me which bus… and they tell me. And then the other person goes, oh hey I didn’t know you blind. I just walk off and leave them alone. I do them cold but it’s like what can I say to the person?

Every once in a while a person says oh excuse me I’m very sorry. Ok, cool.

I walked in a business before, with a cane, I’m trying to figure out why are they paying so much attention to me but it’s not a friendly attention it’s almost like do they think I’m going to steal something.

One of the worse things I got … I got off a bus one day and the dude said yeh, man, you got that game down, carrying that cane pretending to be Blind. I had some cuss words, I didn’t say them out loud cause it was night time and I ain’t ready for no fight. It’s kind of what they call the Pre Antebellum South the days before Helen Keller. A lot of this society is still like that.

I’m a church going brother. I remember I was at this church a little over a year ago, this friend named Joyce and Leo, hey Charles we’re going to this other church, come on and go, I said ok. I’m sitting there participating in the worship and then the minister calls someone here need to accept Jesus. And this lady is sitting behind me, she ain’t said nothing to me, she hasn’t given me a friendly greeting or nothing. She poked me on my shoulder , you can go up now and accept Jesus. (Laughs) I’ve been sitting there participating in the service and it’s like, no communication she just automatically assumed oh you Blind you need Jesus.

Sometimes there are store front churches and then there’s a good ol’ store front church That kind of backward condemning. maybe the reason you lost your eyesight is because you did something bad. You sinned. God is punishing you. If a person is just losing their eyesight and a person comes along and tells him something like that, oh God man, they’re condemned to hell. It could take them years to get out of that.

I remember this lady, it was Kay Stewart she setup a program for the Blind students at the college. And she was very hip. White lady from Texas. A very, very nice lady. A matter of fact she knew the racist counselor at Voc. Rehab. She wasn’t too fond of him. She was always whatever I can do to help you here at the college, knowing you weren’t going to get all the help you needed from Voc. Rehab. So she would do these cultural programs. When I finished college she got in touch with me and she asked me to go on this outing. She wanted me to talk to this guy, a white guy, he was just losing his eyesight. He was condemning himself, you know, God this and God that. I said hey man that’s not it God is not a condemning God. You got to find out about the love of God.

I had a real good family doctor and he would talk to you. Not like today, they’re running you through like a number. He said you lost your eyesight, take your defect and use it as your asset. Man, that was a strong piece of wisdom. And I passed that on to this other guy.

You find Blind people man, they know the Bible, backwards forward, sideways and down. But do they know how to get out of that condemning. Do they know how to get to that place of being and inspiration to someone else and being inspired and being (forgiving.)
(Emphasized with a slight echo effect)

CC:

I used to listen to Martin Luther King and James Farmer, Fannie Lou Hamer you know.

I’m in college, when I could see good, I’m sitting in front of the library one day reading an article and a dude came up and sat down. It was Souza. And he apologized to me. And I’m looking at him like what. I don’t know whether to listen to him or grab him. He said that he was dating this girl that was Asian and she confronted him. He realized it was his father that instilled all this racism in him. And I was listening and I said wow man!

It was like a Martin Luther King story man.

This time it was real.

Audio Bridge

One of the greatest lessons I learned man, the minister told me, he said, “Never be ashamed to apologize. Be it 8 to 80.”

The lady that I pushed away, it was fourteen years later.

I called her I said, I just want to apologize. She said no you don’t owe me no apology. I says well hey everything in my life is falling apart, I was in a writing project and it collapsed, nothing’s going right and I’m trying to get my life right with God. So I just want to tell you that I’m very sorry I did what I did to you.

I heard her crying on the other end of the phone and I realized I did the right thing.

I realized that I hurt her and I didn’t know I did.

When we apologize it’s like something spiritual takes place on the inside. When we forgive something happens on the inside in a good way.

TR:

Purpose!

CC:

I went to the college with my cousin Anita and I just went over to hang out. So I ran into the friend she used to be a neighbor, her name was Pat. She was much older than me. “Hey Charles, I heard you lost your eyesight.” I says yeh. She was you know very courteous, she knew me. “Come go to class with me.” So I went to a class with her and it was African American Literature. Eugene Redmond was the instructor. He was saying some stuff that caught my attention. I still remember he was presenting this book called “Black Suicides”. I was listening because I was at that point a year before because I had lost my eyesight. By the grace of God it didn’t happen. Black people they say we don’t do this, but here’s a book called “Black Suicides.”. We don’t do it when in fact we do. I says oh wow, this cat is saying something.

“Graduate school!” – CC with Ambient effect

One of the best things I did is sign up , it was an independent study with Eugene Redmond. He was also the editor of the Henry Dumas collection. I don’t know if you heard of Henry Dumas, but Henry Dumas did this poem I still remember;

America!

If an eagle be imprisoned on the back of a coin and that coin is tossed into the sky

That coin may dwindle, that coin may spindle, but that eagle will never fly.

Henry Dumas was shot and killed by a New York subway cop.

Redmond became the editor of the collection. Redmond did a book called Drum Voices. It’s the history and development of African American poets going all the way back to slavery and coming on up to Hakim Muributu, Sonia Sanchez, Amir Baraka. He was always an encouragement and I got an A.

Years later I was having dinner with this brother he was a political person in Sacramento, Grandin Johnson, trying to push for affirmative action years ago. So he had brought Eugene Redmond to the college for a part of Black Studies. I told him yeh, Redmond, I took a class with him and he gave me an A. He looked at me and he said; (pause) Redmond, didn’t give out A’s. If you got an A man you must have been producing some serious work. I kind of hung my head and said well he liked my work. He said I’m telling you he didn’t give out A’s. You had to work to get an A. He really dropped a bomb on me.

I kept in touch with Eugene Redmond, he’s published me about six different times in Drum Voices Review and some other publications too.

Music begins… Slow piano riff moves into a cool Hip Hop groove.

I realized ok, God gave me this talent and with this talent he’s kind of helped raise me up from that bed of poor self-esteem. Lift me up and encouraged me and inspired me. And I have to take care of this talent. I have to nourish it, be kind to it, treat it right and try to use it.

I’m at this place now it’s called Youth Spirit Artworks in Berkley, working with homeless young adults in high school. I try to use stuff like ok, let’s write about the last time someone said to you I love you. The last time you were angry and you felt like you wanted to kill somebody. How you see the situation where the guy is beaten to death on the street and the cop put his knee on his neck. Let’s write about that. Let’s write about mercy. What does it mean for you to be merciful to someone else . And I’m trying to use writing to confront.

I really embrace the Black Live Matter because we fought for the demands for Black Studies apparently somebody was listening.

Audio: Prison door slams and continues with ambient sound of a prison.

I used to do writer’s workshops in prisons and I’d go in and try to be an inspiration and encouragement to those people locked up behind bars with this talent that God gave me.

I did a presentation at Folsom prison and this inmate he wasn’t sitting with his back to the wall. You had to pay attention to that. Other people sitting at the table. It might have been ten people. This one guy when it was over turned out he was a point man in Vietnam and he wiped out a whole family drunk. If it hadn’t been for Vietnam he wouldn’t have did what he did.

He says hey can I ask you a question? I said yeh, go right ahead. He says when you lost your eyesight did you lose your will to live?

Man, I was shocked by that question. I really didn’t want to answer his question, but you deal with inmates they’ll be real with you so it’s best to be real with them. It’ll protect you. I said yeh, I lost my will to live. He says hey brother, he took my hand and said I’m glad you made that decision to live because you’ve really been an inspiration here today. Man, that dude gave me a PhD.(Laughs) He stamped it on my forehead

I got to be like I said, an inspiration, encouragement. Be it if I’m at a prison, at a school, wherever it is try to take this talent, try to inspire, encourage someone to live.

Music ends

TR:

Art!

I started off being trained to do a sketch of you in a minute and a half. Hand and eye.

I can’t do that anymore. I can’t set something in front of me draw it make it look like realism. That’s out!

I had to take a different approach. When I got back into art I was a Sacramento County CETA Artist. CETA program that’s the Comprehensive Employment and Training Act, Jimmy Carter was president.

I was doing stuff that I knew from college because I had been out of art for about seven or eight years.

I did these large carrots, seven foot carrots (laughs). These were paintings. The middle of the carrot had another piece of canvas sewed on it was blue, called “This Carrot Got the Blues.”

I did these large pieces, I took styro foam balls and I stuffed them with Latex paint and then I painted a jet seal over that. It was Braille dots on canvas, it said “Do Not Touch”. And then another one said (laughing) “Read this with left hand only”

I was doing stuff that was workable for my blindness.

Music – Jazz drummer sol – off beat groove Track 9, Charles Curtis Blackwell, In Color

Allen Gordon he was the head of the Art department at one time at Cal State Sacramento. He introduced me to the NCA a group of Black artists from around the country. National Conference of Artists, Margaret Burrows out of Chicago, but even before that time he says oh you’re doing some African art. I says I ain’t took no classes. He said, it’s in you; line, shape, color, rhythm movement. I says oh wow! I’ve been doing more and more of that.

I cover the paper with oil pastels and then I come over it with water down acrylics doing line drawings of African masks on paper. or maybe drummers or jazz musicians on paper. Then I started doing African sculptures playing saxophones or playing a flute, playing a bass. African dancers. Using my blindness and doing abstracts. It might look like a Jazz drummer, a horn player, a dancer with all this abstract stuff you know,

line shape, rhythm color, movement. (Delayed effect on the groove of the beat.)

I’m using my blindness to create the art piece and get to my own originality.

Music ends!

I use my blindness in terms of writing. It’s not what you say, it’s what you don’t say.

Sometime I’m producing art, well I’ll stop and I’ll do some writing. So in a sense the art is influencing the writing.

I produce some writing, well let me set this down and I’ll produce some art. So the writing is influencing the art. Inspiring on the inside- give me some encouragement and inspiration.

I get tired of that well, I’ll go out here and catch a performance, theater play some jazz. I’ll go to an art gallery and see what they’re doing or go catch some poets. I might even sit there and don’t say nothing . I don’t even want to read I just want to you know listen to other people. Right now it ain’t happening. Truthfully I I’ve gotten depressed. Five months I’ve only finished one piece. I started about nine others and finished one. That ain’t saying nothing. I’m usually producing anywhere from one to three pieces a week. So that tells you this thing has hit me in such a manner and all I could do is relate to other people when they’re saying the same thing, feeling uninspired. It’s hard it’s really hard to deal with and I wish I knew some answers. Even I try to get to the spiritual place man I’m blocked on that too. I don’t know maybe you , hey you got some ideas tell me. (Laughs)

The sad part about it is I don’t have a computer and I use visual tech that enlarges print. And I spend a lot of time on that writing. In some ways I wish I had the hook up with the computer but I think I’d be lost.

I don’t take pride in it but I’m computer ignorant and I know I’m ignorant when you get one of these little five or six year olds in here and they know how to hit all the buttons and get everything just right. (Laughs) I know I’m out of the loop.

“Whatever you can do to drum up hope, do it!” – CC with Ambient effect

Music begins.

I never would have dreamed I’d be doing what I’m doing.
I’ve been published, locally nationally and internationally. I’ve had my artwork shown. Some people have my artwork in foreign countries. I’ve had theater plays produced.

Like my Grandmother used to say she said the Lord works in mysterious ways and has wonders to be performed. Maybe that would be my story. I look back on it I’m baffled.

I remember a lady was gonna date me, oh he ain’t got no job, he’s not doing this, he can’t do this. Somebody else said,

Music pauses

apparently you don’t know the brother. ..

My name is Charles Curtis Blackwell!

TR:

Well, it’s a privilege and honor to say Mr. Charles Curtis Blackwell,
It’s official! you Sir are a part of the Reid My Mind Radio family.

Music begins.

While Mr. Blackwell does not have a computer, he does have a Facebook page at Charles Curtis Blackwell. I’ll link to it on this episodes blog post.

I don’t know about you but I’ve been inspired. He said, his art influences his writing and his writing influences his art. That resonates with me. Inspiration from within.

If you’ve been inspired I hope you will let that influence you…

Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And yes, that’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Audio: Reid My Mind Outro

CC:
“Laughs, I was knocked off my feet man!”

TR:

Peace!

Hide the transcript

Flipping the Script on Audio Description

Wednesday, September 16th, 2020

When it comes to Audio Description, are we listening between the lines? There’s so much more to AD than what we hear. So, today on the podcast, we’re going to expand who we actually hear from on the topic. There are the “experts” but there are plenty more with something really valuable to contribute. Like, Alejandra Ospina, Liz Thomson & Chanelle Carson who share their expertise on the subject.
Sometimes you just have to Flip the Script to hear what’s on the other side!

Plus I’ll introduce you to someone from the other side who I’ve been turning to when I need a bit of help! Or maybe I really do just need some help!

Listen

Resources

Alejandra Ospina
Disability Visibility: First Person Stories From the 21st Century

Transcript

Show the transcript


Sound of Vocal booth closing.

TR:

Geez, this idea of trying to open the podcast with something different or catchy is just starting to get to be too much.

If only I had help. If only I had help, If only I …

Sound of Dream Harp!

The Great Kazoo:

(Yawning!) You called?

TR in dream sequence:

Yes, oh great Kazoo. Didn’t you hear me calling you?

The Great Kazoo:

When? Of course not I’ve been sleeping.

TR:

Bruh! Isn’t that your job. To be there to look out for a brother.

The Great Kazoo:

My dear fellow, I’m not only undependable, but I’m a bit of a Kook… That’s why I’m hear remember I’m being punished.

TR:

Really, punished? You act like I call you that often. It’s been a minute since I actually needed your help Bruh. Plus I looked out for you that last time. I sent a very nice email to your supervisor.

The Great Kazoo:

Why don’t you try counting on yourself.

TR:

Oh, it’s like that son? Aight, forget you. I’ll just do the regular intro myself with you, nahmean!

Drop the beat!

Music begins with a Hip Hop Kick drum & bass.

What’s up Reid My Mind Radio Family! My name is Thomas Reid. I’m the host and producer of this podcast featuring compelling people impacted by all degrees of blindness and disability. I should clarify that a bit because I think it may get lost. People impacted by all degrees of blindness and disability? This includes all those experiencing disability directly. A person new to blindness for example. But it also includes their family members and friends. The teachers of the visually impaired, O&M & Rehab instructors who teach the white cane for example or other daily living skills. There are also those in supporting industries from technology, accessibility & of course Audio Description. I consider all of this to be summarized by impacted by all degrees of blindness and disability. For the record, I think our entire society is all impacted by disability, but we don’t all happen to realize that or even feel that way. But don’t worry y’all eventually they’ll catch up with us. That’s on them. So let us just keep doing our thing!

The Great Kazoo:

(Yawning) Oh look, I don’t wish to stay here forever. And since I am supposed to serve you I will try. But take heed, don’t ask for more than you can handle, you may get it.

Sound of reversing Dream Harp…

TR:

Maybe I don’t need help. I think I have an idea after all.

The Great Kazoo:

(Yawning…) Well, see you tomorrow. Maybe. Laughs. Sound effects signaling his disappearance.)

Audio: Reid My Mind Theme Music

TR:

Today I’m bringing you excerpts of some conversations I had over the past few months with multiple Audio Describers. Specifically writers and narrators, each bringing their own perspective and background.

AD is still new. There’s no one “right” way. With there being so much more to Audio Description than what we hear, it’s past time we hear from a more inclusive set of people involved in the process.

So, this is the first in a series I’m calling Flipping the Script on Audio Description. You know, sometimes you just need to hear from another side.

Now let me introduce you to my guests.

Alejandra:
My name is Alejandra (American English accented) or Alejandra Ospina depending on your audience.

TR:

That’s what I’m saying! The Reid My Mind Radio Family like our world is diverse. And that’s how we roll!

(Music begins)

Alejandra:

My business cards have a long list of things, but I like to consolidate it into what I’m calling a Media Accessibility Provider. I do Close Captioning and I do transcription and I do translation and Audio Description and so I like to imagine the things I’m doing all sort of promote access to content. I don’t consider myself as often a content creator but I like to facilitate people getting to see or hear or know what they’re watching.

TR:

That makes me think Alejandra’s introduction to media access is personal.

Alejandra:

Having close friends and chosen family members that are visually impaired and I’ve spent a lot of time describing things for them so it sort of was a natural progression.

Related sort of anecdotally growing up as the primary English speaker in a Spanish speaking family I spent a lot of time explaining things to so the concept of explaining comes naturally to me.

TR:

That sort of hits home for me. My mom played that role for much of her family. One thing I know is that can be a great way to develop an advocate’s spirit.

Alejandra:

I was one of those folks that got on my high horse which isn’t very high, about having people on social media describe images and photos that they post. So I spent a lot of time in the last five years gently shaming or encouraging people to describe the things they post on social media and over time that has caught the attention of folks in disability community and communities of people that are doing this kind of work. And it was sort of a natural progression.

TR:

Next, one of the first Describers to provide a visual description of themselves. This prompted me to not only begin asking other describers to do the same but really to think about incorporating that going forward with all interviews.

Here’s Liz Thomson, who is currently pursuing a Doctorate degree in Disability Studies.

Liz:

(Spelling her name)
Liz Thomson. I would visually describe myself as a dark skin 5 foot 2 person with black eyes and black rimmed glasses. Currently I have a mostly shaved head with a band of 2 inch short black hair. I identify as someone who is disabled, also bisexual and queer. A Vietnamese adoptee. Mostly grown up and worked in the mid-west. I use they, them they’re pronouns.

TR:

you can say Liz had a fast tracked introduction to AD. Learning of it and experience it all in the same evening.

Liz:

One of my good friends who is Low Vision, he invited me to go to a Disability Cultural Program. At the very beginning of the program they ask if anyone needed headsets for Audio Description. He’s used to that and I think he typically takes advantage of that accommodation, but I had never heard of that. And so I was like hey you know I’ll try it out. So I got my headset. I believe this was kind of like an open mic performance.

TR:

It included things like poetry, dance or movement and other artistic expression. probably not the most traditional first experience with Audio Description.

Liz:

So that really got me hooked!

Chanelle:

My name is Chanelle Carson. I am a Freelance Audio Describer out of Las Vegas, Nevada. I’m also the Senior Audio Describer at the Smith Center for the Performing Arts in downtown Las Vegas.

I’ve been working with the Smith Center for actually 8 years now. About 4, 5 years ago actually, during one of our pre shifts they just asked if anyone was interested in learning how to do Audio Description.

At the time I was 22 just out of college. I had been studying film with a focus on screen writing, I was thinking oh, this sounds like it’s right up my alley. I’m a writer and at the time I was very interested in learning how to do voice acting.

Didn’t hear anything for a few months then they sent me and another woman off to get trained at Joel Snyder’s Audio Description seminar.

[TR in conversation with Chanelle:]

Was it kind of hard to take what you learned and go right into the live stuff?

Chanelle:

Oh yeh! It was extremely difficult going from the training to doing live theater because the training was so heavily focused on TV and film that sure the basic stuff like;
Don’t talk over the dialog, Blind people aren’t idiots – don’t worry about being too tender or politically correct with your description. What you see you describe.

Of course with TV and film when you’re doing description for that you have the lovely pause button. You don’t necessarily have that for live theater.

(Music ends!)

You can’t go hey guys I screwed up can we go back. (Laughs along with TR) So it’s very much having to learn how to do things on the fly.

TR:

Like Chanelle, Liz too completed the ACB AD Training. Similarly, the application was less about TV and film.

Liz:

I’ve done photography ever since I was in middle school. I did photo journalism at my high school newspaper, in college. As a photo journalist I was realizing I wasn’t adding Alt Text. I wasn’t adding description in my captions to make it kind of more integrated. I would add a caption but I wouldn’t add that photo description.

TR:
Today, Liz can take up to 25 minutes crafting an image description when preparing to upload.

Liz:

Sometimes people are like how can you do that? Do the in their eyes the extra time and labor to do the Audio Description. My response now is how can you afford to not.

TR:

Even if you put aside making the world a more accessible place for all (boring!) there are some real benefits:

Liz:

It makes me look at my images more closely. It makes me reflect a lot more on images that I shot.

TR:

That reflection could lead to a better understanding beyond the pixels. Photography biases for example.
Liz:

Not taking images of people with disabilities. Taking more images of cisgender men.

TR:

It’s not just about description – Liz is thoughtful about phrasing.

Liz:

Language is also fluid and socially constructed and also has different meanings over generations and time. Like modern and traditional. Well that means something very different now than it did in 1940.

My first draft will be one way and then I’ll look at it later on in the day and then I’ll change it. If I say something like traditional, then I have to ask myself well what do I mean and also what did I really see.

It’s about writing and saying what you saw.

(Music begins)

Alejandra:

In addition to learning the sort of standard ways that one is meant to do Audio Description for video for things like Netflix and Amazon, I’ve also been thrown into the world of how do you break that open and describe differently in ways that are actually respecting the culture, respecting the art. becoming part of the art and not just being tacked on after the fact because somebody does not want to get in trouble for not providing access.

TR:

I find it very empowering to see a lot of that pushing of the boundaries around Audio Description coming from the disability community.

It’s no surprise that Alejandra has worked with Alice Sheppard and laurel Lawson who we featured here on the podcast. All sharing this way of looking at Audio Description as more than an access accommodation.

Alejandra:

I don’t have a specific background in writing, but I have a specific background in wanting to be right!
[TR in conversation with Alejandra:]

Hmm , hmmm! I like that. (Laughs)

Alejandra:

Laughs…

Given that I have a personal investment with my community and the people that I care about

TR:

That’s the Disability community. When you’re connected like that it’s more than a job.

For the record, there’s absolutely nothing wrong with it being a job that you perform professionally.

Alejandra:

I have AD on for almost everything that I watch as well as captions. And there have been so many times where I’m like you know that’s not right, I don’t like that.

TR:

Word selection, maybe failure to fully describe what was on screen…

Alejandra:

We both know that a lot of it is in the timing. And again it’s because AD is added on after the fact. There’s some really interesting things that I’ve been able to consult with

I did a live Audio Description for a panel sponsored by the New York University Center for Disability Studies. it featured the short films of a film maker named Jordan Lord. They create autobiographical films but the AD is baked into the narration. It’s written in sort of a prose style and the shots sort of follow as it’s written. So it’s not something that you have to add on after the fact. The filming is informed by what the film maker has written. And it’s very interesting. I think more films should be made that way.

(Music slowly fades to silence.)

[TR in conversation with Liz:]

have you always identified as disabled?

Liz:

No, I haven’t. Four or five years ago I was in the Disability Studies program, another student was talking about her letter of accommodation and her relationship to disability and her own disability identity. She also had mental health issues and mental health things and I was like oh my God like I’m also part of this community and I didn’t even know.

[TR in conversation with Liz:]

How do those identities impact how you write description.

Liz:

I don’t think people are talking about this, the identity of the describer or the person who does the voice, who writes it. They’ve made a huge impact on how I think about Audio Description and describe.

TR:

While working on an art gallery project, Liz and a colleague each drafted what they refer to as positionality statements. This included their bio’s and a statement about how they became involved in description.

Liz:

If you’re going to read a book, you might want to know a little bit about the author. You don’t have to.

We are not in a post racial world. I think it’s very important and necessary to know if you’re in an art gallery or theater you definitely need to know who’s writing that book or that script or who’s doing the painting, where they’re coming from.

TR:

Liz who completed the ACB Audio Description project training, refers to one of the lessons taught.

Liz:

In Snyder’s training even in his book, I don’t know about other people’s training and workshops but there’s about two sentences about race and that’s about it.

Basically, just to kind of paraphrase it says to describe race if it’s important.

TR:

The guideline refers to importance in regards to the movie’s plot. But like Liz says:
Liz:

I would offer that it’s always important.

TR:

It’s especially important to those who are marginalized . those who have been under or misrepresented on and behind the camera. Important to those who care about equity & justice. Important to those who want to see the real world which includes so much more than just white men. (My words, not Liz)

Important is subjective. So who should make the determination when it comes to consuming content?

I propose the consumer. In order to do that, Blind consumers need that information.

Liz:

If you are describing race you need to do it for all the people or all the characters not just the people of color because otherwise it centers whiteness. So I agree with that. What I’ve experienced though, race is not described. Even in for example, Black Panther or in some movies or TV shows that is predominantly people of color.

Chanelle:

Traveling Broadway shows, they are so white. (Laughs) I’ll be the first to admit and I am about as white as you can get. Thank God more recently we have had a lot more diversity in shows.

(DJ Scratch… Music begins)

Hamilton is like the perfect example of this. Also Hades Town more recently.

I will absolutely go out of my way to make sure to point out that there are Black actors, Hispanic actors, Asian actors in a show just because I really want to celebrate the diversity of these shows going forward. I’ll do the same thing when I’m doing Circe Sol as well. The audience will always be very diverse as well so it’s great for someone who may not be sighted or may be Low Vision to be able to imagine themselves within that person in the show.

TR:

And if we’re going to change the way we think about race & privilege it’s just as important that non people of color also see and acknowledge & respect this diversity.

Like the saying goes, things are rarely black and white. There’s lots of shade in between. Those shades are important and often reveal other stories.

Liz:

If I do distinguish between someone who might be light or medium or dark skin, is that perpetuating colorism? I don’t want to perpetuate colorism. On the other side, probably when people in TV or film make casting decisions they are making decisions like that. Unfortunately!

TR:

Colorism or the practice of favoritism towards those with lighter skin has its roots in slavery and white supremacy. It’s not exclusive to the US or to African Americans but rather throughout communities of color.

Acknowledging a person’s color as description does not perpetuate colorism. A Blind viewer Wanting descriptive information about a person doesn’t make them a racist. Including editorial such as the prettier or menacing followed by color or racial identification, well that’s another story. It’s going beyond what’s required for Audio Description and providing opinion or analysis – which is the responsibility of the consumer alone.

Alejandra brings up an interesting point around identity.

Alejandra:

I’m Hispanic, but I have a lot of experience code switching and ultimately being very white passing, both in my physical appearance and in my voice. And whether or not I realize it or admit it in different situations that’s opened different doors for me.

TR:

And yet…

Alejandra:

The two things are very separate, AD script writing and AD Voicing, but I’ve done some AD script writing for some Netflix shows as a contractor. Not particularly things that I found super exciting but they needed somebody to write a script and then I didn’t get to voice those things because AD Voice work is like any kind of performance and acting work, they sort of have to want you for the part.

I think it’s important for the voicing of Audio Description to match the tone and the content and the intention of the work. And I don’t see that happening. Not very often anyway.

TR:

And then, there’s physical access for the creation of accessible digital content

(Music ends)

Alejandra:
At a practical level, places that are doing audio production, voice recording and audio books, even our local library that handles recording for the NLS, booths are tight. Wheel chairs are not. This is not an experience that these places generally have. They’re not generally expecting a wheelchair user to come in to record and it’s unfortunately like everywhere else I’ve had to have this discussion. Yes, I use a wheelchair, yes we’re going to have to make adjustments to booths so I can get inside, you can just barely squeeze into the booth and you need space to do these things.

And I’m also very interested in Spanish language content AD as well because there’s not as much of it.

TR:

This raises the question of non-English access in general. Something I fail to personally remember on my own when thinking about access.

Chanelle:
Each studio sometimes has their own rules of stuff that you can or cannot say. You can’t say that they point a weapon at someone. You can’t refer to anatomy in certain cases like you can’t say chest you can’t say butt!

TR:

I’ve heard this about Disney. At first, you may think well, Disney produces a lot of content for children. So they’re being sensitive to the viewer. But remember, it’s on screen. And it’s not just Disney.

It’s not just the censorship that annoys me, but even in terms of researching this, we’d need sighted help.

Liz:

If we as describers similar to people who do interpretation with like ASL, if someone swears, the interpreter should interpret that. I think the captioner should caption that. Because that’s what the person said. So similar to Audio Description, I think we also have that obligation.

TR:

Whatever the medium, television & film, live theater, video games, museums, art galleries and yes, you too right now uploading your images and videos to social media – getting all of these content creators to know and think about Audio Description needs to be a goal.

The benefits of AD extend further than the consumer. We all win!

Chanelle:

Regardless of what I’m watching now if it’s a TV show if it’s a movie if it’s another stage show, I find myself kind of mentally describing it like I would do it for an actual performance. So it’s very much changed my view point of media in general.

TR:

I know I’ve heard some conversation around what qualifies someone as an AD professional. A specific number of training hours? Certification perhaps?

(Music begins)

Alejandra:

Here’s the thing.

There are many folks who do this work because they have particular kinds of voices. Because they can crank it out because they’re smooth and more power to them.

I just am not that kind of describer because I have a very particular investment in my community and in the work that I am producing and that doesn’t mean that other folks aren’t doing high quality work. It’s just that what is informing their work is very different.

TR:

For an example of what’s informing her work, you can hear Alejandra narrating Alice Wong’s Disability Visibility: First Person Stories From the 21st Century right now on Audible. The book is available on Amazon and other outlets and it’s Alice y’all so it’s in a variety of formats because Access is love!

Alejandra does a great job narrating and I highly recommend the audio book.

Shout out to all of my guests for taking the time to speak with me;
Alejandra Ospina (Spanish accented pronunciation)
Available at SuperAleja.org that’s S U P E R A L E J A. O R G
The site Includes links to all social media.

Liz Thomson and Chanelle Carson.

You can find both on Facebook especially in the Audio description discussion group

Sound of News Breaking Segment…

This just in, it’s official! You are all a part of the Reid My Mind Radio Family!

I have a couple more episodes that I’m including in this Flipping the Script on Audio Description series. I’m not publishing them back to back so if you’re interested in the subject and want to make sure you don’t miss the next installment, please allow me to make a suggestion.

Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And yes, that’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Audio from The Flintstones:

Barney Rubble:

Do you think he’ll be back?

Fred Flintstone:

I don’t know Barn. Might be better if he wasn’t. Look at all the trouble he caused us.

Audio: Reid My Mind Outro

Peace!

Flintstones continues…
Barney Rubble:

He caused us or we’ve caused us? I wonder which it really is. Augh, I think he’ll be back.

Fred Flintstone:

Ah, looks that way. Goodnight, Barn.

Barney Rubble:

Goodnight Fred.

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Superfest Disability Film festival: Going Above & Beyond

Wednesday, September 2nd, 2020

Superfest Disability Film Festival Logo

When the Covid 19 Pandemic forced a shutdown, some people and organizations were in the position to really step up in different ways. Cathy Kudlick & Emily Beitiks from the Paul K. Longmore Institute on Disability home to The Superfest Film Festival are among this group.

In this episode we’re discussing the history of Superfest and more including:
* Providing online content for an underserved community during the Pandemic
* Defining 101 vs. 201 Disability Films
* Creating a template for Accessible Film Festivals
And of course More on what you can expect from Superfest 2020 on October 17 & 18, 2020. Plus, join me on a quick journey “Back in the Day “through my own movie experience over the years.

Listen

Resources

Transcript

Show the transcript

Audio: Record player static… “Back in the Day” Instrumental, Ahmad

TR:

Every now and then I like to tell my kids about my experience growing up. It puts things into a perspective. At least that’s my intent. They usually just make fun of me.

I tell them how as a young child growing up in the 70’s we used to get dressed up to go to the movies. I mean actually put on our good clothes. For me that meant dress pants which more than likely was polyester. Hard bottom shoes and dress shirts or sweaters.

(“Yuk”)

Movies were an experience.

Over the years that experience changed. By the early 80’s, I didn’t get dressed up and go downtown with my family, we now had a local theater. I could go with my friends, choose my own clothes. At first that was during the day time, but then as I got a bit older and a new multiplex theater was built in the borough, we all traveled there on Friday and Saturday nights.

Audio: Krush Groove Movie Trailer…

RIP, to the Whitestone Theater in the Bronx!

The experience continued to change. I changed as well. I began to prefer going to the movies during the day again. Eventually with my own family.

For a few years, I stopped going to the movies altogether. That was when I could no longer see the screen. I didn’t return until a theater about 30 minutes away from my home began offering Audio Description. That process wasn’t very smooth at first, but it did get better.

Now I’m back to my family trying to tell me what to wear.

Today, Covid 19 has obviously made adaptation a requirement for just about everything in our society. As we’ve seen, these adaptations paired with accessibility can equal opportunity. It’s not permanent, we know experiences evolve. When it’s inclusive, well I think that’s a good thing!

By the way, there’s nothing wrong with my sweat-shirts!

I’m Thomas Reid, your host and producer!
You’re rockin’ with Reid My Mind Radio!

Audio: Reid My Mind Theme Music

Cathy:

My name is Cathy kudlick and I’m Director of the Paul K. Longmore Institute on Disability at San Francisco State University. I should spell out Longmore because so many people here it as lawn mower, but it’s Longmore. It’s a disability cultural center. We try to kind of get people to think about disability in new and creative and innovative ways.

I’m a History professor in addition to my role as Director at the Longmore Institute and I teach Disability History among other things and I come at this largely as somebody who grew up with a serious vision impairment and was in complete denial through much of my life trying to pass and pretend and all of those things and then a random encounter with somebody and then started to read more about blindness tuff and disability stuff and all of that led to kind of start to say hey there’s nothing to be ashamed of here so why not embrace what’s really cool about this and think about it in new ways.

TR:

Thinking about disability in new ways. We’re going to come back to that.

If you’ve been riding with Reid My Mind Radio, you’re probably thinking we’re about to dive into Cathy’s journey. It’s obvious, Cathy’s story falls in line with this podcast’s mission. Well, for now that’s not the case. She has however, agreed to come back to share her story on a future episode.

Today’s episode is all about the…

(Audio: “Super, Super Super, from Super Rhymes by Jimmy Spicer)

Superfest Disability Film Festival.

Also here to take us through the festival is Emily Beitiks the Associate Director at the Longmore Institute on Disability.

Emily:

I’m the Coordinator of Superfest. I work with the film makers each year to help them audio describe their films and work with the audience each year as we kind of learn from them what works what doesn’t work and bring Superfest into other arenas to kind of broaden the reach of where our films are seen and introducing people to audio description for the first time when I do school assemblies or go to libraries or not your traditional Superfest audience. I’m a non-Disabled accomplice in this world. My mom had a disability since before I was born so I’ve been really passionate about bringing my own experiences kind of straddling both worlds experiencing disability discrimination and also participating in it as being a non-disabled person.

TR:

Let’s start with a bit of history.

Emily:

Superfest was started in Southern California in Los Angeles in 1970. It switched hands to various organizations over the years and migrated up to the Bay area where it was run for many years by Culture Disability Talent. It was a really well loved grass roots effort volunteer lead.

TR:
Running an event like this solely with volunteers can be a challenge. In 2012, Superfest found a new home with The Paul K Longmore Institute on Disabilities and The San Francisco Lighthouse.

Emily:

It was just kind of a very exciting match because the Longmore Institute was just getting started in a new sort of way as our founder Paul Longmore had passed away and Cathy had come on as Director and Lighthouse was a really established organization but focusing more on direct services and was interested to kind of push their boundaries by doing some more cultural programming.

We partnered up and ran Superfest for the past seven years.

TR:

The festival, which originally was not an annual event, is now headed into its 34th year. This will be the first time it’s solely run by the Longmore Institute, as the Lighthouse leadership decided to focus on other programming.

Emily:

We were really lucky to have that partnership with Lighthouse for many years because they just had a sort of organizational structure for like getting the bills paid and the reservations booked that moved a lot faster than we were capable of when we were just getting started. We’re really lucky that they waited and gave us a lot of warning because now we’ve been up and running for some time and we’re ready to run the ship by ourselves.

Cathy:

The other thing that kind of got thrown into this that makes it less hard to measure what the big change is you know with Covid how much of this is ultimately going to be online anyway. We’re still trying to decide. We don’t quite know if the venues we want to have it at in mid-October are going to be open and ready and all that. So it’s hard to measure exactly what a new Superfest without Lighthouse is going to be like.

TR:

Fortunately, Superfest in October won’t be their first go at managing events online.

Emily:

For the last few years, we do an annual event called the Longmore Lecture in Disability Studies and we had started to experiment with using Zoom to live stream that event to be able to bring it to people that by nature of their disabilities they couldn’t come or geographically they couldn’t come in person. When shelter in place hit and we’re here in San Francisco which is one of the first places in the country that got the official lockdown, we kind of saw it as a real opportunity, we’re like oh, we can do online programming. We’ve had experience with this and we could figure out how to bring it to a festival environment.

TR:
The challenge in presenting films online is the threat of pirating.

Audio: Scene from Pirates of the Caribbean”

“You are without doubt, the worse Pirate I’ve ever heard of.”

Jack Sparrow: “But you have heard of me”

Emily:

But I knew I’d worked with enough film makers over the years who I could reach out to that their primary mission was just for people to see their films. So the risk of possibly somebody making an illegal recording was just not as big of a concern. The more people that see this film the better.

TR:

Some of the films included work from Reid My Mind Radio family members Cheryl Green & Day Al-Mohammed.

Emily:

People really need this right now. People are cut off from their community and at the same moment that there’s so much hurtful and ablest rhetoric circulating around disability. And so to be able to spend an evening or an afternoon watching some disability films it also really brings people together and celebrate disability and get at the nuances of life with a disability that certainly the mainstream media doesn’t always get, just felt like a really important possibility.

TR:

My initial interest in featuring Superfest here on the podcast began with access. I was really impressed with the way they just for me at least, appeared to come out of nowhere and start providing content for the disability community. The way they do access; not only did I feel included, but knowing others were also able to participate just felt like something I should share with the Reid My Mind Radio family.

I wasn’t the only one reacting.

Emily:

One person was like I’ve never been able to participate in any sort of film festival in my life because I spend most of my time in the bed. They said this was just incredible to get to be part of this. Another one that stood out was a guy who stayed up super late to watch in Kenya with a group of friends and was like that was absolutely worth staying up for. Now I have a group of friends and we’re going to watch all your programs. And he certainly has.

So just being able to bring this program to people that don’t have what we have in the Bay area has been really exciting.

Cathy:

Emily thought to do another really cool one which was Superfest Kids which was kind of a nice home schooling moment I guess, with disability awareness and it was all geared towards kids. How many people did we have on that one? Do you remember?

Emily:

We had about 150. A number of people were like my kids are supposed to be on a Zoom call with their class right now but this is a more important lesson.

TR:

A lesson that more of us need no matter our age.

For the unfamiliar, the idea of a disability film is something like;

Cathy:

Oh Disabled people are people too and isn’t it great that they’re there and this is a positive happy uplifting story. It’s not a depressing one whatever. Those are fine, but we highlight what we think is disability 201 – films that share the creativity and the ingenuity or the unexpectedness or the intersections of disability with other kinds of identities.

TR:

Identities like race, gender, sexuality

Considering the idea of Disability 101 versus 201, you may think those new to disability should begin sequentially. Cathy however doesn’t see it that way.

Cathy:

I would say go to Superfest right away because if you’ve even thought about disability for five seconds or anybody around you has thought about it, chances are they’ve seen some version. It’s usually some films by a family member or friend that just thinks wow you know it’s really great that so and so with fill in the disability and then fill in what they did. They either traveled somewhere or they climbed a mountain or they went to school.

TR:

The 101 or 201 classification isn’t about good or bad. The distinguishing factor between the two is 101 films aren’t often made with disabled people in mind.

Cathy:

We want people to sort of think about disability as experimental and as interesting and as passionate and not just as yet another feel good story about somebody climbing a mountain because they started to be more comfortable with their disability or they needed to prove themselves. We want to ask them to think about well what happens when that person comes down from the mountain. What’s their life like after that?

TR:

That’s another difference. The 101 films feature a single disability experience.

Cathy:
But the 201 version would have them speaking to other disabled people and kind of bonding. There would be some sort of connection and some sort of excitement and engagement. It’s not just like one person being show cased all by themselves.

It might be that they have a quirky view on things and they change the thinking of other disabled people or they changed the thinking of people around them to give an unexpected perspective on the world around them.

TR:

The 201 films like Superfest, really center disabled people. And at the end of the day, as Emily explains, the goal is pretty simple.

Emily:

We’re just trying to not have them be bored. Even if you are new to finding your disability identity, typically a 201 film can just go a lot farther with pushing people’s buttons and thinking like wow, there’s this whole world of thinking about disability that I haven’t seen before.

A few years back we came up with a list that we kind of think of 10 things that define disability 201 and what Superfest is all about. Things you’re going to find at Superfest that you’re not going to find anywhere else.

TR:

These are things like;
People with disabilities as the main characters
Intersectionality – people with disabilities aren’t just white men as often portrayed in movies. So at Superfest, you’ll see representation from Black, Latinex, and LGBT people with disabilities.

I’ll include a link to these ten categories on this episodes blog post at ReidMyMind.com.

At Superfest, all screenings include open Audio Description. So unlike when you attend a film at your local theater and you request the headset and receiver to privately stream the audio description, these films have the description streaming with the main audio. As Cathy notes, this does require some introduction for an audience unfamiliar with AD.

Cathy:

You’re going to hear this and you’re not used to it. Think about it as a new way of watching films. I’ve often thought of it as in that context of when they introduced talking to silent films. It’s another layer that people weren’t ready for and then suddenly like woh this is very new. The problem with that though is it can be sensory overload for people that have processing or cognitive stuff going on

TR:

A challenge of producing a film festival like Superfest is the idea that creating access for one group of people may unintentionally exclude another group.

For example, Emily talked about a film called To Be or not To Be. It featured a young man with Cerebral Palsy in Kazakhstan. The film which was in Russian, required translation. For sighted users, printed sub titles along the bottom portion of the screen will do the trick. Blind viewers require over dubbing.

Emily:

The focus of the film is really his incredible acting abilities. In making it accessible to the Blind we were then losing hearing this actor with CP and his own voice telling his own life story. So it was a really tough example of like a competing accommodation of wanting to bring access to the Blind but not wanting to lose this man’s voice.

TR:

This particular film worked out because it had enough quiet space that the description and dubbing was staggered to allow the actors voice to be heard. For this very reason, Superfest now determines which films are better suited for open description but offers closed description for others.

Emily:

So much of our work is working with these film makers to teach them, think about the problem and have tough conversations as we do it so that hopefully people are thinking about it in advance of making their films.
[TR in conversation with Emily:]

So what is that process like, of teaching the film makers?

Emily:

Well, when they apply to participate in Superfest, there’s a requirement box that they have to check that says that they’ll get their films captioned and audio described.

TR:

Most of those who apply are in agreement with this philosophy. In some cases especially for independent film makers, the cost of captioning and describing, while small in comparison to other production costs, can present a challenge.

Emily:

A lot of our film makers are able to get it done. Other times we have to work and get creative about finding funds ourselves to be able to cover those expenses or find funders that are willing to do it for them. With each film kind of think it through with the film makers and sort of talk through the strategies.

TR:

Funding is just one of the challenges. Some films may just be packed with dialog and visuals leaving little space or no space for description. Emily and Cathy explain how one such instance was managed and how the result can be a win for all involved.

Emily:

And so we were like we’re going to just have to add pauses to the film to do this right and get some of that Audio Description in. There were going to be visuals that like everyone in the crowd who was sighted was going to laugh at that and we didn’t want to risk that people would not get to experience those jokes. And so we built in those pauses and I think this film maker was super up for it.

Cathy:

You know when audio description’s done badly it’s horrible, it’s like suffocating on something that’s beautiful and something that’s not. But when it’s done well it kind of coaxes out some great stuff that’s already in there and enhances it. So she got somebody to audio describe the film that had the same snarky tone that the images did. So it totally enhanced the images for everybody.

Emily:

We’re introducing it to them for the first time but we’re also really trying to empower them to be advocates for what the final product is and be like you know your film best. You know if that visual right there matters or if that was just some B roll you needed to fill the shot. The more active that they can be in the audio description process if they do outsource, the better the results have been.

Cathy:

To me that’s the dream of a Superfest audio description experience where the film maker says woh this made my film better!

TR:

Currently, English and American Sign Language (ASL) are the only supported languages. However, an online festival offering multiple links for various languages would simplify the process in comparison to a live physical audience.

Getting that audience whether in person or not takes work.

Emily:

Shout out to our wonderful student assistants. Every time we have an event they get an email from me like okay, here’s the audience for this one, think of everybody you can and send them this email. We have like a big list of disability organizations all across the country, but then with each one we’re like who can we reach that would not have any interest in attending a disability film festival but because of this new sort of twist on it right, might be interested.

TR:

Selecting the students, or Longmore fellows, as Cathy refers to them is not about finding interns to get the job done.

Cathy:

We try to hire as many students with disabilities and put them in the majority as our kind of student workers but also we’re educating them and bringing them into community with each other about new ideas around disability.

TR:

The students are experiencing the mission of Superfest, advocacy, education and community building. All done through the phase one judging of the films.

Cathy:

It’s almost like a class but we get paid internships for students with disabilities to come and basically watch like 190 – 200 films and have to Weddle it down to like 10 or 15. And we teach them and they teach each other and they become advocates and learn about representation of disability and all these things by working together.

TR:

Both Cathy and Emily lead the interns in discussions about the films. With each of the students coming to disability from different angles as you can imagine, the conversations are rich and engaging.

For more on Superfest jurors, check out episode 76 of Alice Wong’s Disability Visibility Podcast. I’ll hook you up with that link on ReidMyMind.com.

While much of the world got caught flat footed during the pandemic, we see how the team at Superfest was in a position to quickly respond.

Emily:

We have always evolved with new twists and turns each year.

Emily & Cathy:
There’s always something!

Cathy:

The BART Station right by the venue was down. We created a bus bridge to another BART station. We found out like that morning at the festival.

Emily:

One year we arrived at one of our venues and the night before they had painted a wall like right outside the entrance to our auditorium. So the fumes were going to be a serious problem for anyone with chemical sensitivity. We’re like, alright great let’s figure it out. We’re going to get some fans in here. We’re going to reroute and everyone’s going to enter through the back.

We’ve been giving advice to some of the other film festivals not just disability film festivals but film festivals period with how to do online programming. I think that’s a great example of like when you’re in the disability community you’re used to things not being made for you because of ableism. That gives you this adaptability and flexibility and like our festival has that spirit.

TR:

The Superfest Film Festival will take place on October 17 & 18, 2020.

With 15 films all falling within the range that Superfest aims to include.

Emily:

Different disabilities featured, a mixture of documentaries that look at some of the honest hardships of life with a disability and others that are light and hilarious and really get at some of the funniest moments insider humor inside the disability community. A lot of really incredible artistic films that explore the beauty that comes with disabled bodies and disabled dance movement.

TR:

This year’s set of films consist of 14 short and 1 feature film.

Emily:

Called God Given Talent that explores a local Oakland based artist who’s Black and Blind. Really looking forward to sharing that more local story.

TR:

And yes, you are going to hear more about that particular artist in an upcoming episode right here on the podcast.
*

For more on the films included in this year’s Superfest lineup visit SuperfestFilm.com.
You can learn more about the Paul K. Longmore Institute on Disability at LongmoreInstitute.sfsu.edu
They’re on Twitter @LongmoreInst and Facebook Facebook.com/SFSUDisability.
Or, just check out this episodes blog post at ReidMyMind.com for all the links.

Superfest sounds like much more than a film festival. In fact, I see it as a resource for those adjusting to blindness.

Chances are those new to blindness or disability in general haven’t spent much time critically thinking about disability. Being new to the experience is an opportunity to examine all that’s been accumulating in the sub conscious over the years. The films featured in Superfest encourage us to move our thinking about disability to a conscious level.

Take a look at the list of 10 things defining the 201 films and Superfest. They resemble some of what I’ve been learning along this journey of adjusting to blindness. Like;
* Recognizing the various ways disability intersects with other identities
* Exploring disability as a political and social issue, not just medical
* Seeing ourselves throughout all aspects of society and finding friendships within the community.

In fact, now that I think about it, Superfest sort of reminds me of how I feel about this podcast.

Cathy:

People need to know about this. it’s just such a great opportunity and it’s kind of great that it’s gone under the radar for so many people for so many years but on the other hand it just would be so great to have it be really, really well known. It’s so beloved and people are so excited about it and every year people come and they’re just like woh, we never thought of this. This is so amazing.

TR:

I’m just sayin’!

While I’m looking forward to Superfest being online this year because I personally get to attend, I know there’s no replacement for that in person experience. I look forward to one day being able to participate in person. I get the sense that it could be a similar experience to my first blindness conference. That sense of belonging or community.

Audio: It’s Official…

Cathy Kudlick…
Emily Beitiks…
And Superfest…

Its official! You know you’re part of the Reid My Mind Radio family!

Come hang out with yours truly and the rest of the cool kids watching some fun, interesting and thought provoking films. Head over to SuperfestFilm.com to check out the lineup and grab your ticket. Don’t forget the snacks and drinks. (You gotta have the snacks and drinks.)

Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And yes, that’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Audio: Reid My Mind Outro

Peace!

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